Leda and the swan after Jean Thierry (1669-1739), Bronze , ca. 1860

Original version in marble, 1717, Sculpture Collection Paris Louvre (MR 2100/N15429)

This exquisite, very rare Bronze follows exactly the famous marble sculpture created by Jean Thierry in 1717 for the Royal Academy of Fine Arts in Paris.

The group shows the amorous approach of the god Zeus in the form of a swan to the Nymph Leda. Thierry treats the popular motif with incredible sensuality and elegance. The delicate face of the Nymph appears curious and surprised at the same time, her posture leaves the situation in limbo - does she gently respond to the animal's approach or does she hesitantly keep it at a distance?

The sensuality of the scene is underlined by Leda's loosely falling hair and the lavish draping of her cloak. Like a frame, it directs the viewer's gaze and emphasizes the smooth curves of the Nymph . The quiet, intimate moment is commented on by the surroundings, everything ca. the gaze of the two figures is in lively movement. The swan's plumage, the draping cloak, even the grass and reeds seem to cling to the Nymph .

The quality of this unique, wonderful and sensual Bronze is outstanding and the condition is excellent. Almost every detail of the different textures has been finely chiselled and worked out. This emphasizes the smooth, velvety body. Nymph and swan seem to step out of the outlined shore landscape.

Despite its age, the work shows no traces, very good original condition.

Foundry mark 'VAUVRAY Fres' on the plinth, no signature

Height: 37 cm . Weight: 9.9 kg

The Outstanding Sculptor Jean Thierry (1669-1739) was mainly recognized for his work for the castles Louis XIV famous in Marly and Versailles. He studied at Antoine Coyzevox (1640-1720) and Nicolas Coustou (1658-1733) in Paris. The royal sculptor worked for Marly and Versailles from 1699. Coustou in particular significantly influenced and promoted his career at Versailles. The best-known works include - next to the Leda - probably the Allegories of the Four Seasons, the Allegories of the continents of Africa and Europe, the Fountain of the Four Nymphs and various representations of poetry which he created for Versailles.

From 1714 Thierry was a member of the Royal Academy of Fine Arts. In 1721 he was jointly with Rene Fremin (1672-1744) from Philip the V appointed to the Spanish court of La Granja de San Ildefonso. The Bourbon king was a lover of the large French castle parks in which he spent his childhood and youth. King Phillip V retired to La Granja in 1724 ca. establish a Versailles-style court there.

His project included spectacular French-style gardens richly decorated with statues, vases and quiet squares. The trick fountains, cascades and fountains are also famous to this day. Until 1728, Jean Thierry created all the sculptures for the garden of the royal palace.

After his return to Paris in 1728 he was appointed professor at the Académie royale de peinture et de sculpture.

Source:

J.-R. Gaborit, Sculpture française II - Renaissance et Temps Modernes, Musée du Louvre, Paris, 1998, p. 599.

A. Marral, Le Versailles de Louis XIV, Un palais pour la sculpture, 2008, p. 298, p. 301.

Leda and the Swan after Jean Thierry. Bronze, ca. 1860

Original version in marble, 1717, Sculpture Collection Paris Louvre (MR 2100/N15429)

This exquisite, very rare Bronze follows exactly the famous marble sculpture created by Jean Thierry in 1717 for the Royal Academy of Fine Arts in Paris.

The group depicts the amorous approach of the god Zeus in the form of a swan to the nymph Leda. Thierry treats the popular motif with incredible sensuality and elegance.
The nymph's delicate face seems curious and surprised at the same time, her posture leaves the situation in limbo - does she gently return the animal's approach or does she hesitantly keep it at a distance?

The sensuality of the scene is further emphasized by Leda's loosely falling hair and the lush drapery of her cape. Like a frame, it directs the viewer's gaze and emphasizes the nymph's smooth curves. The quiet, intimate moment is commented on by the surroundings, everything around the gaze of the two figures is in lively motion. The swan's plumage, the cloak sliding down, even the grass and reeds seem to cling to the nymph.

The quality of this unique, wonderful and sensual Bronze is outstanding, the condition excellent. Almost every detail of the various textures has been finely chiseled and worked out. This accentuates the smooth velvety body. The nymph and swan seem to emerge from the implied shoreline landscape.

The work shows no traces despite the age, very good original condition.
On the plinth the foundry mark "VAUVRAY Fres", no signature.

Size: 37 cm . Weight: 9.9 kg

An outstanding sculptor, Jean Thierry (1669-1739) became most famous for his work for Louis XIV's castles at Marly and Versailles. He studied under Antoine Coyzevox (1640-1720) and Nicolas Coustou (1658-1733) in Paris. The royal sculptor was active for Marly and Versailles since 1699. Coustou in particular significantly influenced and promoted his career in Versailles.

Among his most famous works - besides the Leda - are probably the allegories of the four seasons, the allegories of the continents Africa and Europe, the fountain of the four nymphs as well as various representations of poetry he created for Versailles.
From 1714 Thierry was a member of the Royal Academy of Fine Arts.

In 1721, together with René Frémin (1672-1744), he was appointed by Philip the V to the Spanish court La Granja de San Ildefonso. The Bourbon king was a lover of the great French chateau parks where he had spent his childhood and youth. King Phillip V retired to La Granja in 1724 to build a Versailles-style court.
His plan included spectacular French-style gardens, richly decorated with statues, vases and quiet squares. The water features, cascades and fountains are also famous to this day. Until 1728, Jean Thierry created all the sculptures for the garden of the royal palace.

After his return to Paris in 1728, he was appointed professor at the Académie royale de peinture et de sculpture.

sources:
J.-R. Gaborit, Sculpture française II - Renaissance et Temps Modernes, Musée du Louvre, Paris, 1998, p. 599
A. Marral, Le Versailles de Louis XIV, Un palais pour la sculpture, 2008, p. 298, p. 301

I enjoy beautiful things and it is my greatest pleasure to find them, to lure them into their stories, to spend time with them and then set them free again. Add to that a passionate interest in exceptional and high crafted objects. You surely know the exciting feeling when you see or experience something special, when the heart bounces in excitement and the joy inside it spreads. That's what I wanted more in my life and that's how this shop came about. The foundation stone was a study of literature and art history as well as cultural communication. Curiosity, thirst for knowledge and a lot of collaboration with amazing personalities in the art and design world are how I got myself to where I am today. Through antiquities, history becomes tangible in the literal sense, one can perceive it sensually. They calmly defy the constant change of fashions and the taste of the times. They are like a bridge between past and present. For me personally they are an inexhaustible source of inspiration. Some objects give up puzzles, lock themselves up; others quite frankly reveal their past. They radiate joie de vivre, astonish or enchant us; make a collector's heart beat faster or become good friends and a meaningful place in your lives. They may be bulky or controversial, but they are never boring. I believe the stories, the hands, and the tradition behind the objects are equally as important as their aesthetic qualities. Antique objects can add so much value to your life, and I personally cannot imagine a home without it. Each piece in my shop has been thoughtfully and personally chosen. What unites them is their craftsmanship, care and attention to detail. Enjoy them.