Galerie Koller /Sep 17, 2015
€822.98 - €1,234.47
Artworks in Arcadja24
Some works of Joseph ChinardExtracted between 24 works in the catalog of Arcadja
Auction: Sotheby's -May 21, 2014 - LondonLot number: 2
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Acquired by the present owner at Harrods, London, in the 1990's French, 19th century After the Antique FAUN WITH A KID bearing the signature: CHiNARD white marble 116cm., 45 5/8 in. Overall the condition of the marble is good with minor dirt and wear to the surface consistent with age. There are a number of small naturally occurring inclusions, most of which have been filled with wax. A section of the goat's back (including the tail), his proper left ear and the lower section of his rear proper left leg are carved separately and joints are visible (they are partially restored, and the restorations have yellowed). There are a few relatively minor losses, including to the faun's crook at the back. and to the goat's rear left hoof. There are chips and losses to the terrasse.
Auction: Sotheby's -Jan 29, 2010 - New-yorkLot number: 512
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LOT 512 JOSEPH CHINARD 1756 - 1813 PHRYNE EMERGING FROM HER BATH 400,000—600,000 USD measurements height 28 1/8 in.; 71.4 cm Description France circa 1784-1787 stamped: CHINARD SCULPTEUR terracotta PROVENANCE M. Villard, Lyons; Heim Gallery, London EXHIBITED Paris 1810, p. 112; Washington, New York, Cambridge, 1979-1982,no. 87, illus.; New York, 1981, no. 51, illus.; Chicago, 1987-88,no. 23; New York, 2004, no. 102, illus. LITERATURE AND REFERENCES La Chapelle 1896-97, vol. 1, p. 143 CATALOGUE NOTE In this stunning work, Joseph Chinard has chosen as his subjectthe beautiful Athenian courtesan Phryne, said to have been a loverof the sculptor Praxiteles and the inspiration for his famousAphrodite of Cnidius . Chinard has drawn upon the famousancient marbles so admired by Grand Tourists visiting Italy,including those derived from Praxiteles's masterpiece, the mostfamous of the type being the Medici Venus and theCapitoline Venus which Chinard would have seen during hisstays in Rome. The clever use of drapery, which frames andemphasizes the delightful figure, also finds inspiration in theCallipygian Venus in Naples (fig. 1). The view from behindin particular recalls the famous posterior of that sculpture, forwhich it is named. In that aspect, as well as in the revealinglength of the drapery, the composition also relates to the figureof La Frileuse by Chinard's contemporary Jean-AntoineHoudon. In the fourth century B.C. Phryne was celebrated for her beautyand was a muse to great artists, at a time when physical beauty wasconsidered to be a sign of divine virtue. An often recalled storyfrom her life places her disrobed before the judges at theAreopagus, who at the sight of Phryne's nude body were moved toacquit her. In 1861 Jean-Léon Gérôme showed the episode in hispainting Phryné devant l'Areopage . The stamped signature on the present terracotta was not usedafter 1787, and stylistically the work seems to date from early inChinard's career; Draper suggests that it dates from Chinard'sfirst visit to Rome, 1784-1787 (New York 2004 op. cit. , p.218). Late in his life Chinard retrospectively showed this work atthe Salon of 1810, giving it the title Phriné sortant dubain .
Auction: Sotheby's -Jan 24, 2002 - New-yorkLot number: 82
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coyly gazing downward, holding a veil across her chest revealing her bosom, the veil gently falling over the integral socle, her hair bound with a cloth wrapped around the head , curls falling over the top, signed on base chinard Lyon , some chips Provenance The Collection of Mrs. Nancy Richardson, sold at Christie's New York, January 28, 1998, lot 113 Exhibited J. Baillio, The Winds of Revolution , Wildenstein, New York (exh.cat.), 14 November 1989 ? 19 January 1990, no. 107 Related Literature P. Vitry, Exposition d'oeuvres du sculpteur Chinard de Lyon (1756-1813), (exh.cat.), Union centraee des Arts Décoratifs, Pavillon de Marsau, (Palais de Louvre), Paris, 1909, pp. 16, 41-42, no. 58 Lami, S., Dictionnaire de Sculpteurs de L' école Française au dix-Huitième siècle , Paris, 1910, pp. 194-210 Journal of the J. Paul Getty Museum , Malibu, CA, 1989, New Acquisitions, no. 92 D. Rosenfeld (ed.), European Painting and Sculpture , ca. 1770-1937 , in the Museum of Art, Rhode Island , School of Design, Providence, R.I., 1991, pp. 17-19, no. 8 and frontispiece P. Laverack (ed.), Daniel Katz Ltd. 1968-1993 , (exh.cat)., Daniel Katz Gallery, London, 1992, pp. 54-57 (marble bust, unsigned, sold to the Minneapolis Institute of Arts M. Rocher-Jauneau, 'Chinard,' in The Dictionary of Art , London, 1996, vol. 7, pp. 162-63, (marble in Lyon, illus.) "Juliette Récamier (née Jeanne-Françoise-Julie-Adélaïde Bernard, 1777-1849) was one of the most fashionable and beautiful women in Napoleonic France, and one of the more interesting personalities of a society that rose out of the turmoil of the Revolution "(D. Rosenfeld, op. cit. ). She was the daughter of a Lyonnais notary who carried out numerous flagrant affairs, the most celebrated with the Prussian Prince Augustus. In 1793, at the height of the Terror, the fifteen year old beauty married Jacques-Rose Récamier a banker-financier. In her Parisian home she held a fashionable literary salon frequented by the elite. She was the physical embodiment of the Neoclassical taste with her classically inspired coiffure and her flowing white robes, designed in the antique manner. Some of the most accomplished portraitists of the era sculpted, drew and painted her image. Chinard's terracotta bust is a testament to his popularity and skill. He was able to capture Juliette's spirit, beauty and a surprising naturalism. Joseph Chinard (1755-1813), like the Récamiers, was from Lyon and was considered the leading French Empire sculptor, favored by Napolean and the Bonaparte family. He studied at the Ecole Royale de Dessin de Lyon and apprenticed in the studio of the Lyons sculptor Barthélémy Blaise. In 1784, a local patron, provided the funds for his travel to Rome, where he remained until 1787. He was imprisoned several times, once back in Lyon for the counterrevolutionary sentiments that were perceived in his statue of Liberty (destroyed 1810; plaster model, Lyon, Musée des Beaux-Arts) created for the facade of the Hôtel de Ville in Lyons, replacing an effigy of Louis XIV. Chinard most likely met the Récamiers in 1795 when he first visited Paris to be admitted to the Institute de France. It was at this time that he is believed to have executed his first bust of the seventeen year old Juliette, a small scale version (21 cm. high). The famous larger, life-size marble version ("grand buste"), similar to the present bust , was carved in 1801 and is preserved in the Musée des Beaux-Arts, Lyon. The present terracotta, as well as a comparable terracotta example in the J. Paul Getty Museum, Santa Monica, is the image, both sensuous and elegant, by which Juliette Récamier has been immortalized. In around 1805, Chinard was living in the Récamier's house in Paris. A second marble bust was still in the sculptor's possession in 1812 when Madame Récamier was exiled from Paris by Napoleon. She wrote to Chinard claiming that she was not prepared to pay him for it ,as she possessed the first bust in Paris. She did not claim the second bust until 1814, after the sculptor's death in 1813 and her return to Paris. This marble is now in the Rhode Island School of Design Museum of Art. This variant lacks the arms and diaphanous drapery exposing her bosom. Historians have noted that this marble may have been truncated (or edited), by direction of the sitter, removing the erotic quality of the portrait as she apparently had concerns about its propriety. A letter from Chinard mentions that another version of the bust was exhibited in the Salon either of the year VII (1801) or IX (1802) of the Revolutionary calendar. According to the livret Chinard did not exhibit in those Salons, although the Salon of the year X (1803) lists "plusieurs bustes." The provenances of the present bust and the unsigned one in the J. Paul Getty Museum are not known, but they are probably among the three terracottas in private hands listed earlier this century by Lami ( op. cit. , p. 210) and Vitry ( op. cit. , p. 42): Collection of Mr. Cahen, Antwerp (exhibited Galerie G. Petit, Paris, December 1883; and again the Chinard exhibition of 1909, no. 58). Mr. Lefébvre, château de Valmer (Indre-et-Loire, France) Mr. Gaston Berheim (formerly Mme. Lucy Hessel), exhibited at the Grand Palais, Paris, 1900. As Rosenfeld ( op.cit) praises "[this composition] remains one of Chinard's greatest accomplishments and one of the most distinctive portraits of the era...it reveals a synthesis of idealization and sensuality, of repose and animation, combining a fashion for antiquity with the lingering fleshiness of late-Rococo art. Chinard has suggested something of the beauty and charm that attracted so many people to Madame Récamier. He has also conveyed the rich ambiguity of this legendary personality, who could be simultaneously seductive and aloof, arousing and yet inaccessible."
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