Lot Content

Global notice COVID-19 Important notice
Attributed to Albert-Ernest Carrier-Belleuse, Paris, circa 1870
Attributed to Albert-Ernest Carrier-Belleuse, Paris, circa 1870
1 More
These lots have been imported from outside the EU … Read more
Attributed to Albert-Ernest Carrier-Belleuse, Paris, circa 1870

A FRENCH ORMOLU AND SILVERED-BRONZE CENTREPIECE, ENTITLED 'LE TRIOMPHE DE FLORE'

Details
Attributed to Albert-Ernest Carrier-Belleuse, Paris, circa 1870
A FRENCH ORMOLU AND SILVERED-BRONZE CENTREPIECE, ENTITLED 'LE TRIOMPHE DE FLORE'
Modelled as a scantily-clad figure of Flora driving her dove-drawn chariot, with putti at her side, on a base cast with floral garlands, over a shaped onyx plinth with plaquette inscribed 'LE TRIOMPHE DE FLORE', on four toupie feet
22 ¾ in. (58 cm.) high; 25 ½ in. (64.5 cm.) wide; 10 3/8 in. (26.5 cm.) deep
Provenance
Anonymous sale; Sotheby’s, New York, 24 October 2007, lot 214 ($28,000).
Special notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

Brought to you by

Adam Kulewicz
Adam Kulewicz

Check the condition report or get in touch for additional information about this

Condition report

If you wish to view the condition report of this lot, please sign in to your account.

Sign in
View condition report

Lot Essay

Albert-Ernest Carrier-Belleuse (1824-1887) was one of the most important and innovative sculptors of 19th century France. Dr. Anita Brookner called him a 'manipulator of styles', an epithet addressing Carrier-Belleuse's versatility and fearless experimentation in the fine and decorative arts. Indeed, Carrier-Belleuse thrived during the second half of the 19th century, a time in which sculpture became more multifaceted and less dependent on an established, singular style. Whether he produced portrait busts, public monuments, sculpture or decorative wares and designs, his art engendered unequivocal praise from his contemporaries. Carrier-Belleuse exhibited at the Paris Salon beginning in 1857, the acknowledged official art sanctum which ensured future stability, public recognition and desired patronage. His business acumen and self-promotion were prophetic, and he carved his public image as boldly as his sculpture, becoming one of the most popular figures of his time.

This fine quality centrepiece exemplifies Carrier-Belleuse's output during the 1860s, when his work was characterised by the influence of the Fontainebleau School, with its great attention to detail in the fine chiselling of hair and intricate folds of drapery.

More from CHÂTEAU - A Distinguished American Collection of Important 19th Century Furniture & Works of Art

View All
View All