Lot 141
  • 141

James Pradier, 1790 - 1852

Estimate
12,000 - 18,000 EUR
bidding is closed

Description

  • James Pradier
  • Flora
  • signed
  • white marble
  • Haut. 86 cm; height 33 4/5  in.

Condition

Overall the condition of the marble is very good with some dirt and wear to the surface consistent with age and handling. There are more consistent dirt in the crevices and minor chips to the high points of the drapery at several places and to the edges of the base consistent with age and handling. Some natural veining and inclusions to the marble consistent with the material are visible at several places. There is some sticky brown residue to the inner fold of the drapery beneath Flora's buttocks.
"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."

Catalogue Note

During a stay in Switzerland, Vivant Denon meets Pradier, a young student at the municipal school of Geneva. Back in Paris, he recommends him to François-Frédéric Lemot. Pradier is admitted to the Ecole des Beaux-Arts and wins the first prize in sculpture in 1813. At the Academy of France in Rome, he studies thoroughly antique models. Upon his return, he exhibits for at the Salon for the first time, in 1819. His most successful works are subjects inspired by mythology and antiquity, particularly his emblematic Sapho kept at the Musée d'Orsay (inv. no. RF 2990). Public commissions multiply in Paris : the Chamber of Deputies, the Arch of Triumph, and the Invalides all demand Pradier. Most admired under the reign of Louis-Philippe, his work draws its stylistic sources in the refinement of Greek antiquity.
In 1841, Pradier executes a plaster representing Flore and Zéphire (MAH, Geneva, inv. N ° 1910-217). At the 1849 Salon, he exhibits a life-size marble, Chloris caressed by Zephier, also titled Spring or Flore (Musée des Augustins, Toulouse, inv. no. 990). A plaster reduction from the 1847 of Chloris shows a few variants, including a crown of flowers, which we find again on our marble (MAH, Geneva, inv. No. 1910-226). Editor Salvatore Marchi later casts bronzes of 47 cm or 30 cm high after this version with modifications from Chloris which, to our knowledge, has not been edited in marble. Our Flora is therefore a reduction made by one of Pradier's practitioners and carved under his supervision, such as Poggi's reduction from the model offered in 1850 to Maximilien de Beauharnais (current location unknown).