Established 1964
Back

After ALBERT ERNEST CARRIER-BELLUSE (1824-1887) Full Bio

A Gilt-Bronze and Alabaster Clock Garniture Depicting Hebe and Jupiter

After ALBERT ERNEST CARRIER-BELLUSE (1824-1887) Full Bio

A Gilt-Bronze and Alabaster Clock Garniture Depicting Hebe and Jupiter

REF No. B74310

france, Circa 1880

H   96 cm | 37 in

The dial signed 'Charpentier et Cie / Bronziers / Rue Charlot 8 / Paris'.

Albert Ernest Carrier-Belleuse (1824-1887), was an important Parisian sculptor who signed his work 'Carrier'.

The sculptor Fauconnier trained Carrier-Belleuse before he entered the École des Beaux-Arts in Paris in 1840, where he studied under David d'Angers. He later abandoned this formal training in order to develop his interest in a more decorative, Romantic style - in which he showed a healthy independence. Carrier-Belleuse made his debut at the Salon in 1851 before moving to England, where he worked in the design shop at Minton's ceramic porcelain works in Staffordshire until 1854. Here he trained under Léon Arnoux.

Upon his return to Paris in 1855 he embarked on a series of important pieces that included work at the Louvre, the Hôtel de Païva, the Opéra, the Hôtel de Ville and the Théâtre Français. As one of the most prolific and versatile sculptors of the nineteenth century, he made his reputation with the group 'Salve Regina', which was shown at the 1861 Paris Salon. His later works 'Bacchante' (1863) and 'The Messiah' (1867) won him medals and the Legion of Honour - the ultimate recognition.

In the last years of the Second Empire he executed many public commissions and was highly regarded by Napoléon III, who referred to him as 'our Clodion'.

Carrier-Belleuse worked in every medium, both traditional and modern, even experimenting with galvanoplasty and electroplating. His combination of materials, such as porcelain for the features of his bronze statuettes, anticipated the chryselephantine figures of the turn of the century. In 1875 he was appointed director of Works at the Sèvres porcelain factory. He employed a galaxy of rising young sculptors as assistants, who at one time or another included Rodin and Mathurin Moreau, though his own work showed little sympathy with the modern movement which Rodin was instrumental in developing. His bronzes include many busts of historic and contemporary celebrities, classical and allegorical figures, figures in period costume, nude statuettes, bas-reliefs and even sculptural staircases and interior decoration.

Markers Bibliography:

Meyer, Jonathan Great Exhibitions - London, New York, Paris, Philadelphia, 1851-1900, Antique Collectors' Club, (Woodbridge, UK) 2006; p 194.

Mestdagh, Camille & Lécoules, Peter, L'Ameublement d'Art Français, 1850-1900, Editions de L'Amateur, (Paris) 2010, pps. 61, 150.

Segard, Achille, A. Carrier-Belleuse, H. Champion, (Paris) 1928.

Lami, Stanislas, Dictionnaire des Sculpteurs de l'Ecole Francaise. H. Champion, (Paris), 1914.

Formerly in the collection of Baroness Fiorella Favard de Langlade (Villa Favard, Rovezzano) and by decent to Maria De 'Ferrari, Countess of Frassinet.

Artist Biography

Albert Ernest Carrier-Belleuse (1824-1887), was an important Parisian sculptor who signed his work 'Carrier'.

The sculptor Fauconnier trained Carrier-Belleuse before he entered the École des Beaux-Arts in Paris in 1840, where he studied under David d'Angers. He later abandoned this formal training in order to develop his interest in a more decorative, Romantic style - in which he showed a healthy independence. Carrier-Belleuse made his debut at the Salon in 1851 before moving to England, where he worked in the design shop at Minton's ceramic porcelain works in Staffordshire until 1854. Here he trained under Léon Arnoux.

Upon his return to Paris in 1855 he embarked on a series of important pieces that included work at the Louvre, the Hôtel de Païva, the Opéra, the Hôtel de Ville and the Théâtre Français. As one of the most prolific and versatile sculptors of the nineteenth century, he made his reputation with the group 'Salve Regina', which was shown at the 1861 Paris Salon. His later works 'Bacchante' (1863) and 'The Messiah' (1867) won him medals and the Legion of Honour - the ultimate recognition.

In the last years of the Second Empire he executed many public commissions and was highly regarded by Napoléon III, who referred to him as 'our Clodion'.

Carrier-Belleuse worked in every medium, both traditional and modern, even experimenting with galvanoplasty and electroplating. His combination of materials, such as porcelain for the features of his bronze statuettes, anticipated the chryselephantine figures of the turn of the century. In 1875 he was appointed director of Works at the Sèvres porcelain factory. He employed a galaxy of rising young sculptors as assistants, who at one time or another included Rodin and Mathurin Moreau, though his own work showed little sympathy with the modern movement which Rodin was instrumental in developing. His bronzes include many busts of historic and contemporary celebrities, classical and allegorical figures, figures in period costume, nude statuettes, bas-reliefs and even sculptural staircases and interior decoration.

Markers Bibliography:

Meyer, Jonathan Great Exhibitions - London, New York, Paris, Philadelphia, 1851-1900, Antique Collectors' Club, (Woodbridge, UK) 2006; p 194.

Mestdagh, Camille & Lécoules, Peter, L'Ameublement d'Art Français, 1850-1900, Editions de L'Amateur, (Paris) 2010, pps. 61, 150.

Segard, Achille, A. Carrier-Belleuse, H. Champion, (Paris) 1928.

Lami, Stanislas, Dictionnaire des Sculpteurs de l'Ecole Francaise. H. Champion, (Paris), 1914.

Provenance

Formerly in the collection of Baroness Fiorella Favard de Langlade (Villa Favard, Rovezzano) and by decent to Maria De 'Ferrari, Countess of Frassinet.

A Gilt-Bronze and Alabaster Clock Garniture Depicting Hebe and Jupiter
A Patinated Bronze and Marble Clock Depicting The Three Graces
A Gilt And Patinated Bronze ‘Chariot’ Mantel Clock
A Napoleon III Porcelain Mounted Clock Garniture
A Fine Gilt-Bronze and Champlevé Enamel Clock
A Louis XVI Style Gilt-Bronze Champlevé Enamel Mantel Clock
A Louis XVI Style Gilt-Bronze Lyre Clock
An Napoléon III Gilt-Bronze and Turquoise Porcelain Clock Garniture
An Empire Period Gilt-Bronze Clock Depicting Diana The Huntress
A Fine Louis XVI Style Gilt-Bronze and White Marble Clock
An Ornate Gilt-Bronze Mounted Sèvres Style Blue Ground Mantel Clock
A Gilt-Bronze and Champlevé Enamel Clock
A Fine Louis XVI Style Enamel Mantel Clock
A Fine Louis XV Style Style Gilt-Bronze Clock Garniture
A Gilt-Bronze Empire Clock In The Form Of a Classical Urn
A Fine Gilt-Bronze and Sèvres Style Porcelain Mounted Figural Clock
A Rare Napoléon III Gilt-Bronze Double-Faced Clock
A Fine and Elaborate Gilt-Bronze and Blue Celeste Ground Sèvres Porcelain Mantel...
A Very Fine Gilt-Bronze Mounted Crystal Vase Clock
A Fine Rouge Marble Figural Timepiece and Garniture