Style Napoleon III / Ref.10667

Albert-Ernest CARRIER-BELLEUSE (1824-1887) - "The confidence", exceptional Statuary marble sculpture signed

We owe this magnificent marble group, where two young women share the intimacy of a conversation, to the prolific sculptor of the Second Empire Albert-Ernest Carrier-Belleuse . Mainly known as the master of Rodin, Carrier-Belleuse is a major sculptor whose skill is visible here.

Already collaborating in his youth with large decorative arts houses such as Barbedienne , Carrier-Belleuse achieved recognition in 1863 when Napoleon III bought his Bacchante, today at the Orsay Museum. His taste for the gallant imaginary of the eighteenth century, which is illustrated in La Confidence, earned him the friendship of Theophile Gautier and the curiosity of Tout-Paris. In this group, he revives the theme of conversation dear to the sociability of the eighteenth century. The friendship of the two young women allows them to share secrets, possibly forbidden things, or at least not to say in public.

By putting a lyre in the hand of the young woman who whispers in the ear of the other, and by dressing both of them in togas which leave them partially denuded, the artist evokes a dreamed scene of the ancient or rather mythological world. La Confidence is thus a scene of the dawn of the world, which shows us what man has always needed, in this case friendship.
Carrier-Belleuse 's style is particularly recognizable in the hairstyles he imagines for his characters. Carrier-Belleuse 's taste for complicated hairstyles is well known, and he produces a large number of fancy busts in which the ladies wear rolled-up plaits, flowers and shells. The confidente, adorned with a beautiful shell, has the same hairstyle as a woman, doubtless imaginary, whose bust, dated 1865, is in Cleveland. This shell evokes the intimate taste of the Regency, of which it was an emblem. This reference to the eighteenth century, typical of the artist, stems from his careful study of the groups sculpted by Clodion, whose spicy charm combined with gentleness is retained here.

This Confidence is also to be compared with the works made by the artist for public monuments in 1873. The caryatids of the Théâtre de la Renaissance in Paris are capped with similar plaits, as well as the grandiose Torches of the Opéra Garnier. The Confidence, whose trace is noted in 1872, expresses a personal taste of Carrier-Belleuse ’s, whose vocabulary he has not hesitated to reuse for his most important official orders.

Having arrived at a comfortable recognition in the 1870s, Carrier-Belleuse did not hesitate to organize his own sales as early as 1872, which included the small group in marble La Confidence, as well as its terracotta version. The group is proposed to the following sales of 1873, 1874 and 1875. The one we present today was realized before 1875, the artist having signed the receipt of payment in January of this year. On this receipt, one reads: “Received from Madame Louise Ferrier the sum of three thousand five hundred francs - for balance of a group La Confidence - marble. Paris 29 January 1875, Carrier-Belleuse, 15 rue de la Tour d'Auvergne”.
This statue then remained in the buyer's family until today. It is therefore the first time since 1875 that this work resurfaced in the market.

The Confidence has seduced many art lovers for the shapes’ subtlety, which describe the grace of bodies and draperies with precision. The two friends, arranged symmetrically on either side of the bench, can be admired on all sides. It is a prime example of the quality of execution of Carrier-Belleuse, who sculpted wonderfully despite a frantic rhythm. This group was hence in the collection of the Count of Moreton-Chabrillan at the end of the 19th century, and at the Nationalgalerie in Berlin.