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Callipygian Venus, attributed to Claude Galle
Callipygian Venus, attributed to Claude Galle - Sculpture Style Empire
Ref : 79651
20 000 €
Period :
19th century
Dimensions :
l. 9.45 inch X H. 21.26 inch
Sculpture  - Callipygian Venus, attributed to Claude Galle
Galerie Lamy Chabolle

Decorative art from 18th to 20th century

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Callipygian Venus, attributed to Claude Galle

Patinated bronze sculpture of the Callipygian Venus attributed to Claude Galle on an Empire ormolu and patinated bronze base.
Empire period.

A pair of candelabra with identical bases is in the English embassy in Paris (Rue du Faubourg Saint-Honoré, No. 39) and is illustrated in Le Style Empire, Vol. I. (labelled incorrectly 2e serie) page 41 by J. Vacquier, Paris 1920.
This was the former residence of Paulette (Pauline) Bonaparte and was bought by the English in 1815, who conserved many of the original furnishings. This bronze figure of Venus, also known as the Bergère Grecque or Vénus aux Belles fesses, is based on a Hellenistic marble statue preserved at the Museo Nazionale in Naples which was extensively copied in all media in the 18th and 19th centuries. Its title refers to a popular story told by the 3rd-century author Athenaeus in which two peasant's daughters settled a dispute concerning which of the two had the more shapely buttocks by accosting a young bypasser and inviting him to judge. His choice was his reward, and his brother won the other sister. At the time of the wedding, the sisters dedicated a temple to Venus Callipygos at Syracuse. The ormolu base of the statue is reminiscent of a temple and may be a reference to the Syracuse temple. It has been associated with the work of the ciseleur-doreur Claude Galle who worked for the Garde-Meuble under the direction of Jean Hauré in the late 1780s.
A similar sculpture was part of the IA Galnbeck collection (a renowned architect from Saint Petersburg who designed more than ten buildings) and was exhibited in The Treasures of Art in Russia, Saint Petersburg, 1904, illustrated under number 117 as well as 'at the Nassau Country Museum of Art, 2001, and illustrated p. 93.

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