Robert-Guillaume Dardel

Collection Mme C. Lelong, sale in Paris, 13 mai 1903, lot 776 (sold 1550 Francs); Heim Gallery, London

Salon de la Correspondance, 1786; Heim Summer 1981, no. 36

Lami 1910, vol. I, p. 248 – 251; Washington, New York, Cambridge 1979-1982, p.193, fig.1 (illus.); Bordes 1999, p. 526, note 16; Sanchez 2004, p. 444

Some well done restorations include: neck and wing of pelican, edges of drapery around veil, swathe of drapery on her proper right side in the center, her proper right shoulder area. Wedge-shaped restored break in the base (front proper right portion). Some small chips and losses to veil and small areas of drapery. Beautifully modeled and stable.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

RELATED LITERATURE

Sorel 1990, p. 137-143.

Robert Guillaume Dardel exhibited this fine terracotta figure of Charity in 1786 in the Salon de la Correspondance, (February 16, n° 66), where it was described as follows: 'Autre modèle, représentant une femme sous l'Emblème de la Bonté, et de la tendresse maternelle, terre cuite de 18 pouces de proportion.'

This image of Charity, known as the 'pelican in its piety', is based on the medieval legend of the pelican pecking its own breast to feed its children and was used to symbolize Christ's sacrifice for mankind. The description of the terracotta in the Salon,  ...Femme sous le l'Emblème de la Bonté'... , notes the crown or wreath of rue adorning her head. In Ripa's Iconologia , Charity is equated with Bonitas and rue is an attribute of Bonitas. Though Dardel had a remarkable taste for allegories, female allegorical and mythological figures such as the Sackler sculpture are rare in his œuvre.

The sculpture formerly belonged to the collection of Mme C. Lelong, and was described in the sales catalogue before it was sold in 1903(for 1550 Francs):

'Femme debout drapée à l'Antique tenant un nid de pelicans. Statuette en terre cuite signée Dardel 1785.'

Born in 1749, Dardel was a pupil of Augustin Pajou (1749-1821) and a contemporary of the painter Jacques Louis David (1748-1825). In 1771 and 1773, he competed unsuccessfully for the Prix de Rome, and therefore exhibited from 1781 until 1787 at the Salon de la Correspondance, where he presented his terracotta group of Enée and Anchise (Louvre inv.no RF 2322). From 1780 to 1783, he worked for the prince Louis-Joseph de Condé who commissioned a bronze portrait bust (1780), as well as a bronze figure; the terracotta was exhibited in 1780 and the bronze was cast by Thomire in 1785 (Chantilly, musée Condé). The recently acquired  terracotta bozzetto depicting the Allegorical Victory of the Grand Condé (Metropolitan Museum of  Art) was commissioned  by the prince to the artist in 1786  to pay homage to his predecessor the Grand Condé. Dardel was appointed to several positions related to the arts including administrator of the Musée de Versailles in 1796.

The fine modelling and the neoclassical draping of the female figure was greatly appreciated by the public at the time and achieved an unanimous success :

'On voit toujours avec le plus grand intérêt les productions de M. Dardel. Nous ne pouvons mieux faire que de renvoyer à ce qui a été dit de cet artiste (...) Il a bien saisi dans le modèle de femme la manière antique qui donner un si grand caractère.' (Salon de la Correspondance, 16 février 1786 ).