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UnknownErotic Mythological Marble Figural, Nude woman, Bacchante and Satyr Hermcirca 1870- 1890
circa 1870- 1890
About the Item
A sexy and nude curvaceous young Nymph/Bacchante makes amorous advances to a Herm - whose facial expression reflects her erotic touch. The Herm is stylized where his upper torso is combined with his hoofs. Bacchantes were priestesses or female followers of Bacchus, hence the erotically charged nature of the work. There is some minor discoloring at the base. There is a small chip on ear and beach and some slight scattered surface issues, primarily visible on close inspection. Some discoloration to the marble. Most evident around the base is some minor scattered pitting on the female's torso. The marble has an overall white tone with a slight greenish cast. The sculpture will look best when properly illuminated. It works well next to a floor to ceiling window or top gallery lighting to bring out the beautiful curves and silhouettes. Unsigned. Most likely from an Italian studio.
The sculpture is quite heavy 200 - 250 pounds.
The video is showing a bit on the light side.
- Creation Year:circa 1870- 1890
- Dimensions:Height: 54.5 in (138.43 cm)Width: 24 in (60.96 cm)Depth: 13.5 in (34.29 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Small loss to the right beard and right tip of ear of the Herm. Minor chips to the lower right part of the base. Darkening marble at base.
- Gallery Location:Miami, FL
- Reference Number:1stDibs: LU38531171303
About the Seller
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- ShippingRetrieving quote...Ships From: Miami, FL
- Return PolicyA return for this item may be initiated within 3 days of delivery.
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HEIGHT OF THE SCULPTURE without base 69CM + BASE = 84CM WIDTH OF THE SCULPTURE without base 28 CM + BASE = 30,5 CM LENGTH OF THE SCULPTURE without base 46 CM + BASE 51 CM The Collas and Barbedienne company was highlighted at the Great Exhibition in London in 1851, the objects of the Barbedienne foundry received a medal and sales soared. At the 1889 Universal Exhibition in Paris, the Barbedienne company again presented a large number of its compositions, including the large neo-Renaissance clock of 1878. This clock, which was part of the Leblanc-Barbedienne estate, was donated by his heirs to the city of Paris, and is kept in the city hall. Pierre Julien (20 June 1731 - 17 December 1804) was a French neo-classical sculptor who worked in the full range of rococo and neoclassical styles. He had an early apprenticeship in Le Puy-en-Velay, near his native village of Saint-Paulien, and then at the École de Dessin in Lyon, before entering the Paris workshop of Guillaume Coustou le Jeune. In 1765, he won the Prix de Rome for sculpture with a bas-relief panel depicting a subject from Antiquity and entered the Royal School for Protected Pupils, which offered a special curriculum under the direction of the painter Louis-Michel van Loo. He was a boarder at the Académie de France in Rome from 1768 to 1773, where he was influenced by the wave of neoclassicism affecting his fellow students. As boarders were required to do, he sent back to France a slightly reduced marble copy of the so-called Cleopatra, the Sleeping Ariadne from the Vatican, which survives in Versailles. Back in France and with his former master, he worked on the sculpture of the mausoleum of Louis, the Grand Dauphin, in the cathedral of Sens. After a failed attempt in 1776, with his Ganymede, he was accepted by the Royal Academy of Painting and Sculpture in 1778, with a Dying Gladiator. He was appointed one of the first members of the Institut de France in 1795, and knight of the Legion of Honour in 1804. He was commissioned by the Count of Angiviller, director of the King's Buildings, on behalf of Louis XVI, to paint the figures for a series of life-size portraits of the great men of France: he produced a Jean de La Fontaine and a Nicolas Poussin, whom he chose to depict in a nightgown, similar to the draperies of a Roman toga. While fulfilling commissions in Paris, for the church of Sainte-Geneviève (now the Panthéon, Paris), or for the Pavillon de Flore in the Louvre, he sculpted in 1785 a virtuoso marble set representing the nymph Amalthée and Jupiter's nurse goat for the Queen's Dairy at the Château de Rambouillet; for his model, he adapted the pose of the famous Venus of the Capitoline. 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