Lot Essay
Inspired by the Antique frescoes and terracotta statuettes of Venus emerging from a shell, newly discovered at Herculanum, Pradier created an exquisite model of the Birth of Venus. His first essay on this theme, is the same model as the present gilt bronze. Another version exists in plaster, in which Venus's shell is flanked on either side by a dolphin, and Venus wears strings of pearls. Similarities can also be drawn with Pradier's La Naissance de l'Amour, in which both Venus and Cupid recline in an elongated shell, though this is a more contrived composition.
Pradier was particularly fascinated by the sea, and therefore the subject of Venus's birth from the sea, was pertinent and allowed him to exploit his equal fascination with the female nude. The composition of the present model is a graceful interpretation of the theme. Pradier has skilfully held his figures together in a unified oval, and at the same time imbued them with movement and charm. Venus is captured in an undulating pose, while her attendant putti struggle with the resistant shell.
Though little documentation survives for Pradier's two Venus à la Coquille, it appears that the first model with the putti was edited by Salvator Marchi. At Pradier's death the rights of reproduction in bronze were acquired by Duplan et Salles. The only other relevant information regarding this model is a pencil sketch of it on the verso of a drawing (no. 108, op. cit.).
The fine chiselling and gilding on the present bronze suggests that this example may well have been cast under Pradier's direction. Certainly the size, finish and gilding reflect Pradier's desire to create an exquisite cabinet statuette in the manner of earlier ages. This gilt bronze stands as an imaginative depiction of the goddess of beauty and a rare work by the celebrated sculptor.
Pradier was particularly fascinated by the sea, and therefore the subject of Venus's birth from the sea, was pertinent and allowed him to exploit his equal fascination with the female nude. The composition of the present model is a graceful interpretation of the theme. Pradier has skilfully held his figures together in a unified oval, and at the same time imbued them with movement and charm. Venus is captured in an undulating pose, while her attendant putti struggle with the resistant shell.
Though little documentation survives for Pradier's two Venus à la Coquille, it appears that the first model with the putti was edited by Salvator Marchi. At Pradier's death the rights of reproduction in bronze were acquired by Duplan et Salles. The only other relevant information regarding this model is a pencil sketch of it on the verso of a drawing (no. 108, op. cit.).
The fine chiselling and gilding on the present bronze suggests that this example may well have been cast under Pradier's direction. Certainly the size, finish and gilding reflect Pradier's desire to create an exquisite cabinet statuette in the manner of earlier ages. This gilt bronze stands as an imaginative depiction of the goddess of beauty and a rare work by the celebrated sculptor.