Jean-Jacques Feuchère

Ancienne collection du Baron James de Rothschild

Very good condition overall with some surface dust to the frame and the elements in high relief (as can be seen on the photograph). Some minor dirt to the outside framing with two shallow chips to the upper left edge of the marble (1 cm and 2 cm large). The figures in the center of the relief finely carved. The right female figure in the center shows minor lacks to her hair, two small dents to her forehead and index missing to her right hand. Three notches to underside of the relief and two fixation holes to the backside where the relief was probably attached to the wall. Marble finely modelled in good condition overall.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Deux femmes ailées, se regardent en face, leur têtes coiffées d'une couronne de laurier. Personnifications des Arts et des Sciences, elles sont vêtues à l'antique de tissus fluides enveloppant leurs corps, s'étendant gracieusement sur la largeur du relief. De chaque côté à leur pieds est assis un petit Génie ailé, écrivant sur une tablette. Fils d'un ciseleur et bronzier, Jean-Jacques Feuchère fut l'élève de Jean-Pierre Cortot (1787-1843) et Claude Ramey (1758-1838). Il expose au Salon à partir de 1831, et on compte parmi ses oeuvres les plus célèbres, son bas relief illustrant le Passage du pont d'Arcole (1834), sur l'Arc de Triomphe, ainsi que ses bronzes de Satan et Amazone domptant un cheval (au musée du Louvre). Le marbre présenté ici fait certainement partie d'une série d'allégories, dont il exposa au Salon de 1836 deux reliefs en plâtre illustrant, sous le n°1925 la Renaissance des Arts et le n° 1926 la Peinture et la Poésie, appartenant au Baron J. de Rothschild.