Lot 154
  • 154

Emmanuel Fremiet French, 1824-1910

Estimate
4,000 - 6,000 GBP
bidding is closed

Description

  • Emmanuel Fremiet
  • Char de Diane (Diana's chariot)
  • signed: E. FREMIET and inscribed: F. BARBEDIENNE. Fondeur

  • bronze, dark brown patina

Condition

This bronze is in good, stable condition with traces of gilding. Surface dirt, some greening to bronze, minor scratches and small red markings on lips of Diana and approximately one centimetre square section on front of her chariot. Originally Diana held four reins in her hand, only one remains and is now attached to the underside of her shield with a tacky white substance. Diana is also missing her javelin. The link between the horse on Diana's left and the centre horse has become detached.
"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

The Manufacture de Sevres produced thirteen works by Fremiet, the two most significant of these are the Char de Minerve and the Char de Diane. Both were exhibited at the Exposition Universelle in 1900. After protracted negotiations, Fremiet was allowed to pass on to the Barbedienne foundry the rights to edit both models in bronze. A gilt-bronze example of the Char de Minerve was exhibited at the Salon in 1904.

Fremiet designed these groups as examples of high decoration and they are perhaps the best expression of his artistic contribution to the Belle Epoque. They also share a flamboyant fin-de-siecle decadence with the works of Gérôme, Fremiet's close friend and professional ally.

RELATED LITERATURE
Chevillot, pp.161-4, no.S309