French Sculpture Census

photo credit : 2009 President and Fellows of Harvard College
artist © : public domain

Lyon, Rhône 1756 - Lyons, Rhône 1813

L'Impératrice Joséphine (1763-1814)
Empress Joséphine (1763-1814)

hard paste porcelain (bisque)

9 1/4 x 6 1/8 x 4 5/16; on base, H. 12

Acc. No. : 1943.1024
Credit Line : Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop, 1943.1024

Cambridge, Massachusetts, Harvard Art Museums


  • 1927, New York, E. F. Bonaventure Inc., sold to Grenville L. Winthrop for $750
  • 1943, bequest to the Fogg Art Museum


  • Museum's website, January 21, 2013
  • 1964 White
    H. Wade White, "A Significant Addition to the Museum's Napoleonic Collection", Fogg Art Museum Newsletter, Fogg Art Museum, 1964, vol. II, no. 1, n.p.
  • 1969 Gillerman, McKim
    Dorothy W. Gillerman and Gridley McKim, Grenville L. Winthrop: Retrospective for a Collector, exh. cat., Cambridge, Fogg Art Museum, 1969, no. 141, p. 220-221, repr.


  • 1969 Cambridge, MA
    Grenville L. Winthrop: Retrospective for a Collector, Cambridge, Fogg Art Museum, January 23-March 31, 1969, no. 141
  • 1994-2002 Cambridge, MA
    France and the Portrait, 1799-1870, Cambridge, Harvard University Art Museums, December 3, 1994-January 29, 2002


Grenville L. Winthrop: Retrospective for a Collector, 1969, p. 220:
When it was first introduced at Sèvres by Bachelier in 1751, biscuit porcelain heralded the beginning of the neo-classical revival. By the early nineteenth century its ressemblance to classical marble was responsible for an enormously increased popularity, and biscuits were being produced by various factories in France and in Germany as well. From about 1766 on, it became common practice to employ well-known sculptors to make reduced versions of their monumental morks. Falconnet, Pigalle, Caffiéri and many others worked for Sèvres in the late eighteenth century.