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Lot Essay
The present terracotta model for a clock, signed to the reverse 'CLODiON', appears to correspond to a group known to have been executed by the artist which appeared in numerous sales in the 19th century. The composition would eventually be subtly altered and cast by the firm Barbedienne but, until now, the original model was unknown.
Clodion and Fragonard
Claude Michel, popularly known as Clodion, was one of the most successful sculptors in France in the late 18th century. He is particularly known for his small-scale terracottas on mythological themes which he produced for private patrons. The present terracotta corresponds to a number of sale catalogue descriptions, all of which may actually refer to the same piece. In the Grand Pré sale of 1809 (see provenance), no. 175 is a terracotta and is described in translation as 'Subject of the Fountain of Love, with clock movement'. This is particularly significant because two years later in the Payet sale of 1811, lot 128 is described thus: 'Precious group in terracotta, executed by Claudion [sic] from the conception of Fragonard, depicting the subject of the Fountain of Love. Piece of the most exquisite taste and the figures full of grace. In the hands of our able chisellers this charming group will present a new type of clock which will achieve a great success'. The Fontaine de l'Amour by the painter Fragonard (Getty Centre, Los Angeles) was painted circa 1785. Although different from the terracotta by Clodion in that the two figures run up to the fountain side by side, their general physiognomy and positioning would suggest that they could well be the inspiration for Clodion's sculptural model. Only nine years later, in the Walville sale, lot 155 is described as 'The Fountain of Love, Project for a clock by the same [Clodion]'. In the Hope sale of 1855, the description has slightly altered to become 'No. 754, a clock in terracotta by Clodion: love and innocence', and five years later in the Odiot sale of 1860 there is a terracotta described as 'Cupid and Psyche. Two gracious figures. A young man and woman run and embrace above a flaming altar.' (all the above sales noted in Paris, op. cit., p. 432).
It would appear that all these descriptions refer to the same composition, differently described by various auctioneers during the course of the 19th century. Certainly the final description from the Odiot sale corresponds extremely closely to the present group. The popularity of the composition is attested to by the fact that Barbedienne, the Paris founders took it as the basis for a bronze clock they were to produce in the later 19th century (Sale Catalogue, loc. cit.; see illustration). The seated Cupid has disappeared and the flaming incense burner has been replaced by a pair of doves. The base has also been embellished with garlands. However the overall conception is the same and the two figures are identical.
Scientific Analysis
No other example of the present model is known to date which suggests it is the group referred to in the 19th century sale catalogues. X-rays of the terracotta reveal that it has been broken in the past, with dowels inserted to hold together various sections, some of which have been restored in plaster. The pains to which the restorer went suggests that this was not a group cast in multiples, but the record of an original composition worth saving.
Clodion and Fragonard
Claude Michel, popularly known as Clodion, was one of the most successful sculptors in France in the late 18th century. He is particularly known for his small-scale terracottas on mythological themes which he produced for private patrons. The present terracotta corresponds to a number of sale catalogue descriptions, all of which may actually refer to the same piece. In the Grand Pré sale of 1809 (see provenance), no. 175 is a terracotta and is described in translation as 'Subject of the Fountain of Love, with clock movement'. This is particularly significant because two years later in the Payet sale of 1811, lot 128 is described thus: 'Precious group in terracotta, executed by Claudion [sic] from the conception of Fragonard, depicting the subject of the Fountain of Love. Piece of the most exquisite taste and the figures full of grace. In the hands of our able chisellers this charming group will present a new type of clock which will achieve a great success'. The Fontaine de l'Amour by the painter Fragonard (Getty Centre, Los Angeles) was painted circa 1785. Although different from the terracotta by Clodion in that the two figures run up to the fountain side by side, their general physiognomy and positioning would suggest that they could well be the inspiration for Clodion's sculptural model. Only nine years later, in the Walville sale, lot 155 is described as 'The Fountain of Love, Project for a clock by the same [Clodion]'. In the Hope sale of 1855, the description has slightly altered to become 'No. 754, a clock in terracotta by Clodion: love and innocence', and five years later in the Odiot sale of 1860 there is a terracotta described as 'Cupid and Psyche. Two gracious figures. A young man and woman run and embrace above a flaming altar.' (all the above sales noted in Paris, op. cit., p. 432).
It would appear that all these descriptions refer to the same composition, differently described by various auctioneers during the course of the 19th century. Certainly the final description from the Odiot sale corresponds extremely closely to the present group. The popularity of the composition is attested to by the fact that Barbedienne, the Paris founders took it as the basis for a bronze clock they were to produce in the later 19th century (Sale Catalogue, loc. cit.; see illustration). The seated Cupid has disappeared and the flaming incense burner has been replaced by a pair of doves. The base has also been embellished with garlands. However the overall conception is the same and the two figures are identical.
Scientific Analysis
No other example of the present model is known to date which suggests it is the group referred to in the 19th century sale catalogues. X-rays of the terracotta reveal that it has been broken in the past, with dowels inserted to hold together various sections, some of which have been restored in plaster. The pains to which the restorer went suggests that this was not a group cast in multiples, but the record of an original composition worth saving.