Lot 5
  • 5

Jean-Baptiste, called Auguste Clésinger

Estimate
15,000 - 20,000 GBP
bidding is closed

Description

  • Jean-Baptiste, called Auguste Clésinger
  • Diane au repose (Diana resting)
  • signed and dated: J.CLESINGER.ROMA.1860 and inscribed: F.BARBEDIENNE.FONDEUR.PARIS.1862
  • bronze, dark brown patina

Condition

Overall the condition of the bronze is very good. There is minor wear to the surface consistent with age. There are a few minor casting pins/ repairs to Diana's proper right side.
"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

Clésinger was a talented and ambitious artist.  Impatient for success, he befriended the leading art critics of his day to ensure that his work was well received.  And in 1847 his Woman Bitten by a Snake caused a sensation at the Paris salon.  His early work exuded extravagance, prompting his friend, the critic Baudelaire to write "As vices go, I agree with him that excess is worth more than meanness."

In the second half of his career, comfortable in his own success, Clésinger favoured classicism over romanticism and wholly adopted Greek revivalism.  The present bronze of the god Diana and her hound, a reduction of his salon submission for 1861, reflects the artist's strong affinities with the grace and beauty of Ancient models.

RELATED LITERATURE
Benoît, p. 98-9