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JEUNE FILLE À LA COUPE DE FRUITS

Lot 69
20.03.2024 15:00UTC +01:00
Classic
Sold
€ 18 900
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 1172954
Lot 69 | JEUNE FILLE À LA COUPE DE FRUITS
Estimate value
€ 20 000 – 30 000
JEUNE FILLE À LA COUPE DE FRUITS

ATTRIBUÉE À CLAUDE MICHEL, DIT CLODION (1738 - 1814), FIN DU XVIIIe SIÈCLE

terre cuite, la jeune fille représentée debout, tenant de la main droite une grappe de raisin et relevant son habit de la main gauche pour recueillir sa cueillette, l’arrière du tronc portant la signature ‘CLODION.’, avec une étiquette circulaire dentelée en papier rouge imprimée ‘ANNEXE’, avec une étiquette en papier numérotée au crayon ‘481’ et un numéro au marqueur noir ‘50618’ ; restaurations

H. 44 cm (17 ¼ in.) ; L. 13 cm (5 in.)





Provenance

Par tradition, collection de l'impératrice Eugénie (1826-1920) au palais des Tuileries.

Henry Scrive, Palais Rose, Le Vésinet ; vente Paris, Drouot, 17 décembre 1942, lot 72, où acquise par

Paul Gouvert, Paris.

Probablement collection Bouet, Paris.

Wildenstein & Co., New York.

William Rockhill Trust, Nelson Gallery, Kansas City.



Literature

‘Clodion’, in Connaissance des Arts, 15 juin 1955, no. 40, p. 74, ill.



Further details

A TERRACOTTA FIGURE OF A NYMPH HOLDING GRAPES AND OTHER FRUITS, ATTRIBUTED TO CLAUDE MICHEL, CALLED CLODION (1738-1814), LATE 18TH CENTURY

Eager to satisfy the tastes of a new and wider public, the sculptors of the reign of Louis XVI turned a new path. Clodion led the way, making a name for himself with his graceful figures. His preferred means of expression was terracotta, which appealed because of its unique plasticity, a symbol of sensitivity. As a resident of the Académie in Rome, he enriched his repertoire with works inspired by Antiquity brought up to date to the fashionable Neoclassicism. His gallant works soon filled the cabinets of collectors throughout Europe, from Russia to England. At Jean de Julienne’s sale in 1767, two terracottas sold for the substantial sum of two hundred and fifty pounds, wen Clodion had just turned thirty.
Clodion’s artistic and undoubtedly commercial talent was to turn antique goddesses into 18th-century Parisian women. Our terracotta, for example, is inspired both by the Callipygian Venus and the type of the Bacchante, but Clodion diverted these sources to establish a new canon, smiling and amiable, in tune with the aspirations and gentleness of his times.
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