As described by Aldini, after the Legitimist (French royalist who considered the descendants of the eldest branch of the Bourbon as legitimate successors to the crown) sculptor's long exile in Florence, she was enthusiastically received for her marble fountain sent to the 1855 Universal Exposition.
Architectural and decorative elements form an essential part of her work. She notably designed the interior of the château of Ussé, owned by her dear friend the Countess de Rochejaquelein, and of Dunecht House, a Scottish property of Lord Lindsay, a distinguished historian and fervent supporter of Félicie. She also produced decorative ensembles in Florence, notably for Anatole Demidof's property in San Donato (now lost). Numerous drawings illustrate the sculptor's relentless work in the decorative arts. Other fountains by Félicie are known, including the Ondine or Nymph of a Fountain (localisation unkown), known only from a photograph dating from 1869 (op cit., no. 70, ill. 119), and the Garden Fountain with Nymph and Dolphin (St. Petersburg, Peterhof State Museum).
Félicie's visionary concept of striving for a global creation and an arts coalition edifying together a coherent ensemble without the hierarchy of form announces the Art Nouveau.
A. J. du Pays, L'Illustration, t. XVII, 1856, p. 123 ; J. Barbotte, "Félicie de Fauveau, héroïne vendéenne et sculpteur romantique, 1801-1886", mémoire de l'Ecole du Louvre, Paris, 1971, pp. 46-47. A. Aldini, La Revue franco-italienne, 1855, n° 40, p. 313 ; S. Lami, Dictionnaire des sculpteurs de l'école française au XIXe siècle, t. II, 1916, (rééd. 1970), p. 348.
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