Large Antique French Bronze Sculpture “Nymphe De Diane” Signed Eugène Aizelin
Antique French bronze sculpture “Nymphe De Diane” signed Eugène Aizelin
Sublime and large (78 cm) antique French bronze sculpture cast by the prestigious bronze foundry Ferdinand Barbedienne in Paris from the work “Nymphe de Diane” by the famous sculptor Eugène Antoine Aizelin (1821-1902).
This remarkable antique French bronze sculpture shows us the goddess Diana. We recognize her because she is carrying a quiver of arrows on her back and a bow in her hand. Beside her is her dog. In Greek and Roman mythology Diana is the patroness of the countryside, hunters, crossroads, and the Moon. Diana is also considered a virgin goddess and protector of childbirth.
The bronze sculpture is in perfect condition with a very beautiful brown patina. It is very detailed with a good quality of carving.
This work is titled on the terrace “NYMPHE DE DIANE” and signed “EUGne AIZELIN”. It also carries the foundry mark “F. Barbedienne Fondeur Paris” and a stamp “Reduction Mecanique. A. Collas Brevete”.
Dimensions: 78 cm (30.7″) high, 30 cm (11.8″) wide, 30 cm (11.8″) deep.
Weight: 25.6 kg (56.4 lbs).
Eugène Antoine Aizelin (1821-1902)
Eugène Aizelin was born from the marriage of designer Claude-Jacques Aizelin and Marie-Louise-Eugénie Delan. He entered the School of Fine Arts on April 3, 1844 where he was a pupil of sculptors Jules Ramey and Auguste Dumont. Subsequently Aizelin participated in the Salons from 1852 to 1897 and in the Universal Exhibitions of 1878, 1889 and 1903. There he won several awards: a third medal at the Salon of 1859, a second medal in 1861, a third medal at the Universal Exhibition of 1878. Finally he sent his bronze Mignon group to the Universal Exhibition of 1889 at which it was awarded a gold medal.
Aizelin received orders for several Parisian monuments: the Châtelet theater, the Opéra Garnier, the Paris city hall, the Louvre palace and the churches of the Trinity and Saint-Roch.
Literature: Pierre Kjellberg “Bronzes of the 19th century” p. 37-38.
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