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Zhizn Zemli [Life of the Earth] 48, no 3

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Zhizn Zemli [Life of the Earth] 48, no 3

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DOI

10.29003/m5454.0514-7468.2026_48_3/419-430

EDN FGEEYF

Авторы:

Authors:

Linkova, L.O.

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Keywords:

Serpukhov History and Art Museum, Eve with her children, The First Cradle, Le Berceau primitive, Auguste-Hyacinthe Debay, 19th-century sculpture.
Pages:
pp. 419–430

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Linkova, L.O., “On the attribution of the sculptural group “Eve with her children (Allegory of charity)” from the collection of the Serpukhov History and Art museum”, Zhizn Zemli [Life of the Earth] 48, no 3, 419–430 (2026) (in Russ., abstr. in Engl.). DOI: 10.29003/m5454.0514-7468.2026_48_3/419-430.

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On the attribution of the sculptural group “Eve with her children (Allegory of charity)” from the collection of the Serpukhov History and Art Museum

L.O. Linkova1
1 Independent researcher

The article refines the attribution of the sculptural group “Eve with Her Children (Allegory of Charity)” from the collection of the Serpukhov History and Art Museum. The group is currently exhibited as a sculpture by an unknown Netherlandish master of the mid-sixteenth century from the circle of Jacques Dubroeucq. The grounds for reconsidering this attribution are the 1931–1954 surviving museum registration records, the scholarly catalogue of 1995, exhibition catalogues and critical publications of the mid-nineteenth century, as well as an image-based search for comparable works. The study establishes a precise visual correspondence between the Serpukhov sculpture and “The Primitive Cradle: Eve and Her Two Children” by the French artist and sculptor Auguste-Hyacinthe Debay, first shown in 1845 at the National Exhibition of Fine Arts in Brussels and at the Paris Salon. The article traces the public history of this image through the exhibitions of 1845, 1851 and 1855, contemporary critical responses, awards, and known museum and market versions of the work. A comparison of scale, material, sculptural treatment and the relief decoration of the pedestal suggests that the Serpukhov piece should not be attributed to a sixteenth-century Netherlandish sculpture, but rather to a group of reduced unsigned replicas after Debay’s original that circulated on the art market in the mid- to late nineteenth century. The study also identifies two further similar sculptures with incomplete attribution, namely: one in the Tsarskoye Selo State Museum-Preserve and another in the Saratov State Art Museum named after A. N. Radishchev. The Serpukhov work is proposed to be dated to the 1850s–1870s. While the authorship of the artistic image is attributed to Auguste-Hyacinthe Debay, the question of the workshop responsible for the Serpukhov sculpture remains open.

Список литературы

  1. Aleynikova, Zh.S., Pansheva, V.A. (eds.), Anna Maraeva. Life and Faith (Moscow: Sitiprint, 2020) (in Russian).
  2. Kaikova, S., “The French Sculptor Ferdinand Barbadienne”, Antiques, Art Objects and Collectibles 18, 62 (2004) (in Russian).
  3. Antonova, I.A., Akimova, L.I., Bezmenova, K.V., Petukhov, A.V. et al., Eternal Themes of Art: Catalogue (Moscow: The Pushkin State Museum of Fine Arts, 2015) (in Russian).
  4. Sadkov, V.A., Serpukhov History and Art Museum. Western European Painting and Sculpture of the 16th–19th Centuries. Scholarly Catalogue: in 2 vols (Podolsk: Podolsk Offset Printing Factory, 1995. V. 1) (in Russian).
  5. Alphabetical and Classified Index to the Official Catalogue of the Great Exhibition of the Works of Industry of All Nations, 1851. In 2 parts (London: Spicer Brothers; William Clowes and Sons, printers, 1851).
  6. Baudelaire, C., Aesthetic Curiosities. Complete Works of Charles Baudelaire (Paris: Michel Lévy frères, 1868).
  7. “Exhibition Supplement to The Illustrated London News”, The Illustrated London News V. XIX, no 512 (1851).
  8. “Exhibition Supplement to The Illustrated London News”, The Illustrated London News V. XIX, no523 (1851).
  9. Explanation of the Works of Painting, Sculpture, Engraving, Lithography and Architecture by Living Artists Exhibited at the Palais des Champs-Élysées on 15 June 1857 (Paris: Charles de Mourgues frères, successeurs de Vinchon, imprimeurs des Musées Impériaux, 1857).
  10. National Exhibition of Fine Arts. Explanation of the Works of Painting, Sculpture, Engraving, Drawing and Lithography Exhibited at the Salon of 1845 (Brussels: De Mortier frères, printers and publishers, 1845).
  11. Universal Exhibition of 1855. Explanation of the Works of Painting, Sculpture, Engraving, Lithography and Architecture by Living Foreign and French Artists Exhibited at the Palais des Beaux-Arts, Avenue Montaigne, on 15 May 1855 (Paris: Vinchon, imprimeur des Musées Impériaux, 1855).
  12. Fusco, P., Janson, H.W., The Romantics to Rodin: French Nineteenth-Century Sculpture from American Collections: Exhibition Catalogue (Los Angeles; New York: Los Angeles County Museum of Art; Braziller, 1980).
  13. Janson, H.W., Catalogues of the Paris Salon 1673 to 1881. In 60 vols. Paris Salon de 1845 (New York; London: Garland Publishing, Inc., 1977).
  14. Joly, V., Salon of 1845: A Critical Analysis of the Fine Arts Exhibition (Brussels: Librairie des Voyageurs, 1845).
  15. Reports by the Juries on the Subjects in the Thirty Classes into Which the Exhibition Was Divided. Exhibition of the Works of Industry of All Nations, 1851 (London: Spicer Brothers; W. Clowes and Sons, printers, 1852. V. I).
  16. Thoré, T., The Salon of 1845, Preceded by a Letter to Béranger (Paris: Alliance des Arts; chez M. Magasin, Galerie de l’Odéon, 1845).
  17. Vignon, C., Universal Exhibition of 1855: Fine Arts (Paris: Librairie d’Auguste Fontaine, 1855).

References

  1. Aleynikova, Zh.S., Pansheva, V.A. (eds.), Anna Maraeva. Life and Faith (Moscow: Sitiprint, 2020) (in Russian).
  2. Kaikova, S., “The French Sculptor Ferdinand Barbadienne”, Antiques, Art Objects and Collectibles 18, 62 (2004) (in Russian).
  3. Antonova, I.A., Akimova, L.I., Bezmenova, K.V., Petukhov, A.V. et al., Eternal Themes of Art: Catalogue (Moscow: The Pushkin State Museum of Fine Arts, 2015) (in Russian).
  4. Sadkov, V.A., Serpukhov History and Art Museum. Western European Painting and Sculpture of the 16th–19th Centuries. Scholarly Catalogue: in 2 vols (Podolsk: Podolsk Offset Printing Factory, 1995. V. 1) (in Russian).
  5. Alphabetical and Classified Index to the Official Catalogue of the Great Exhibition of the Works of Industry of All Nations, 1851. In 2 parts (London: Spicer Brothers; William Clowes and Sons, printers, 1851).
  6. Baudelaire, C., Aesthetic Curiosities. Complete Works of Charles Baudelaire (Paris: Michel Lévy frères, 1868).
  7. “Exhibition Supplement to The Illustrated London News”, The Illustrated London News V. XIX, no 512 (1851).
  8. “Exhibition Supplement to The Illustrated London News”, The Illustrated London News V. XIX, no523 (1851).
  9. Explanation of the Works of Painting, Sculpture, Engraving, Lithography and Architecture by Living Artists Exhibited at the Palais des Champs-Élysées on 15 June 1857 (Paris: Charles de Mourgues frères, successeurs de Vinchon, imprimeurs des Musées Impériaux, 1857).
  10. National Exhibition of Fine Arts. Explanation of the Works of Painting, Sculpture, Engraving, Drawing and Lithography Exhibited at the Salon of 1845 (Brussels: De Mortier frères, printers and publishers, 1845).
  11. Universal Exhibition of 1855. Explanation of the Works of Painting, Sculpture, Engraving, Lithography and Architecture by Living Foreign and French Artists Exhibited at the Palais des Beaux-Arts, Avenue Montaigne, on 15 May 1855 (Paris: Vinchon, imprimeur des Musées Impériaux, 1855).
  12. Fusco, P., Janson, H.W., The Romantics to Rodin: French Nineteenth-Century Sculpture from American Collections: Exhibition Catalogue (Los Angeles; New York: Los Angeles County Museum of Art; Braziller, 1980).
  13. Janson, H.W., Catalogues of the Paris Salon 1673 to 1881. In 60 vols. Paris Salon de 1845 (New York; London: Garland Publishing, Inc., 1977).
  14. Joly, V., Salon of 1845: A Critical Analysis of the Fine Arts Exhibition (Brussels: Librairie des Voyageurs, 1845).
  15. Reports by the Juries on the Subjects in the Thirty Classes into Which the Exhibition Was Divided. Exhibition of the Works of Industry of All Nations, 1851 (London: Spicer Brothers; W. Clowes and Sons, printers, 1852. V. I).
  16. Thoré, T., The Salon of 1845, Preceded by a Letter to Béranger (Paris: Alliance des Arts; chez M. Magasin, Galerie de l’Odéon, 1845).
  17. Vignon, C., Universal Exhibition of 1855: Fine Arts (Paris: Librairie d’Auguste Fontaine, 1855).