GEORGES JACQUOT (1794-1874)FRENCH, CIRCA 1833, | Young Faun and a Bacchante

Chateau of Pontchartrain, Jouars-Pontchartrain.

Salon of 1833, n° 3262 ;
Universal Exhibition, Paris, 1855, no. 4436.

S. Lami, Dictionnaire des sculpteurs de l'école française au XIXe siècle, Paris, 1919 (reed. 1970), p. 199.

Minor surface dirt is throughout the surface and more consistent in the crevices. Small chips are visible to the high points in some places and along the edges of the base, consistent with age and handling. A restored break is visible to the Bacchant's proper left ankle and her proper left small finger has been reattached with a joint slightly visible. Three fingers of her proper right hand have been replaced and the thumb and the small finger partly redone. An old filling is visible to the tip of her proper right big toe. Remnants of an old mortar are slightly visible along the edge of the back of the marble, where it was formerly incerted to the paneling.
"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."

The son of a sculptor from Nancy, Jacquot frequented the Paris workshops of Baron Gros and François Joseph Bosio before enrolling at the École des Beaux-Arts in 1813. After obtaining second place in the Grand Prix de Rome in 1817, he won the first prize in the 1820 competition, gaining entrance to the Villa Médicis where he was a pensionnaire until 1826. He exhibited at the Salon from 1817 to 1859 and participated in the decoration of the Louvre and the Arc de Triomphe. Well-known works by Jacquot include the marble sculptures Young nymph stepping into the water in the Louvre (inv. CC 4), Paris and Mercury in the château de Versailles (inv. MV 7966 and inv. 7965), and a Reclining odalisque in Bourges (Musée du Berry). Jacquot drew inspiration from the sculptures of Greek antiquity, which according to the archaeologist-historian Johann Joachim Winckelmann (1717-1768) were the finest models of all, and which were still advocated by the French Academy in Rome during the 1820s. His work also drew upon the sensual Neoclassicism of Antonio Canova (1757-1822). Thus, the young faun bending over the languorous bacchante whom he supports, a hand casually laid on her right breast, recalls the composition of Canova’s masterpiece, Cupid and Psyche of 1798 (Musée du Louvre, inv. M.R. 1176).