Description
This French Bronze Allegorical Figures of Spring by Barbedienne dates to the mid nineteenth century, circa 1870. Cast as an opposing pair after models by Antoine Coysevox (1640-1720), the bronzes represent Flore and a Hamadryad, conceived as complementary allegorical figures rather than identical counter parts.
Flore is shown seated with a floral garland extended between both hands, accompanied by a winged Cupid holding a wreath behind her. The companion figure depicts the Hamadryad seated beside the cut trunk of an oak, with oak foliage worked around the base and a child positioned alongside. Both figures are modelled with deeply folded drapery, naturalistic limbs and individually worked botanical details across their respective bases.
The bronzes retain a rich dark brown patination and are cast with substantial detail throughout, particularly through the facial features, hair, drapery, flowers and foliage. Their opposing poses allow the figures to face towards one another when displayed as a pair.
Both are signed A. Coysevox F. 1710 after the original compositions. The Flore figure is additionally signed F. Barbedienne Fondeur and bears the Réduction Mécanique A. Collas Breveté foundry stamp, identifying the reduction process used by the Barbedienne foundry.
View the full Bronze Sculpture collection.
Measurements
Flore 44cm High x 23cm Wide x 19cm Deep (17.3 x 9 x 7.5 inches)
Hamadryad 43cm High x 20.5cm Wide x 20cm Deep (16.9 x 8 x 7.9 inches)
Condition
Excellent antique condition, minimal antique wear
literature
See the originals by Antoine Coysevox housed in The Louvre, Paris inventory number MR 1819 for Hamadryade et enfant and inventory number MR 1818 for Flore
– Florence Rionnet, Les Bronzes Barbedienne: L’œuvre d’une dynastie de fondeurs (1834–1954), Paris, Arthena, 2016, p. 232, cat. nos. 188 & 189.
– Christies Live Auction 20825 Hubert De Givenchy Lot 169 for an identical pair with later gilding
What is Allegorie du printemps (Allegory of spring)?
Allegorie du printemps also known as Primavera is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s. The painting depicts a group of figures from classical mythology in a garden. The painting is believed to be an allegory based on the lush growth of Spring, but accounts of any precise meaning vary, though many involve the Renaissance Neoplatonism which then fascinated intellectual circles in Florence. The subject was first described as Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, by 1550. The painting is believed to depict the charities (three graces), Venus, Flora the goddess of flowers, Mercury, Chloris and Zephyrus.
Who was FERDINAND BARBEDIENNE (1810-1892)?
Born in Saint-Pierre-en-Auge, Northwestern France. Barbedienne began life as a wallpaper salesman before going into partnership with Achille Collas in 1838 the founder of a mechanical device capable of replicating miniature models of famous sculptures. From 1838 Barbedienne grew substantially to become one of the most well known French founders and sculptures of the 19th century.
For further information see our article Ferdinand Barbedienne: A Legacy in French Bronze Casting and Sculpture and our makers and retailers profile on Ferdinand Barbedienne.
Who was Achille Collas (1795-1859)?
Born in Paris, France. He was an a celebrated engineer, inventor, writer and engraver who developed a way of mechanically creating engravings and a machine to copy sculptures at a smaller scale, the so-called Réduction Méchanique, which popularised small sculptures and has been credited with being almost entirely responsible for the transformation of the bronze industry.
Who was Antoine Coysevox (1640-1720)?
Charles Antoine Coysevox was a French sculptor working in the Baroque and Louis XIV style. Coysevox was best known for his sculpture decorating the gardens and Palace of Versailles and his portrait busts.
WHAT IS BRONZE?
Bronze has been one of the most widely used materials in art and design for centuries, valued for its strength, durability, and ability to capture fine detail. Popular from ancient civilisations to the 19th century, bronze has been used for statues, decorative objects, and functional pieces alike.
In the late 19th century, artists in Vienna, including Franz Xaver Bergmann, perfected the technique of cold-painting, adding rich layers of colour to bronze without firing. This innovation, along with the appeal of bronze’s patina and texture, ensures that antique bronze objects remain highly collectible today.
For further information please see our article Bronze Sculpture: History, Composition, and Casting Techniques.
Who were Flora and Cupid?
In Greek mythologies Love symbolises Cupid, the god of love. At this fraction of flowers, the god of love Cupid came to flora, the goddess of flowers and spring, to create a flower ‘as delicious as the rose’ and ‘stately as the lily in her pride’. As a result Flora creates a flower by combining the characteristics of rose and lily. She creates the lotus flower that combines the redness of rose with paleness of the lily.
Flora, in Roman religion is known as the goddess of the flowering of plants. Titus Tatius (according to tradition, the Sabine king who ruled with Romulus) is said to have introduced her cult to Rome and her temple stood near the Circus Maximus. Her festival, called the Floralia, was instituted in 238 BC. A representation of Flora’s head, distinguished only by a floral crown, appeared on coins of the republic.
Depicted in the painting above it has been surmised that a nymph called Chloris was kissed by the West Wind, Zephyrus, and was turned into Flora.
Who is Hamadryad?
Hamadryad was also known as Nymph of the Oak, is a Greek mythological being that lives in trees. It was said that Hamadryads actually lived inside the oak trees and died when their trees died. In Greek mythology, Hamadryas was the nymph daughter of Orius (mountain-god of Othrys or the Pindus) and sister Oxylus (daimon of the mountain forest).
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