French Sculpture Census

crédits photo : The Huntington Library, Art Collections, and Botanical Gardens
© artiste : public domain

autrefois attribué à
ADAM l'Aîné, Lambert-Sigisbert, dit
Nancy, Meurthe-et-Moselle 1700 - Paris 1759

Apollon et enfant (Allégorie de Louis XV guidé par l'Amour)
Apollo and Child (Allegory of Louis XV Guided by Love)

vers 1850-1900 d'après un modèle XVIIIe
marbre, sur socle en marbre

sans le socle : 182,9 x 74,9 x 48,9
gravé sur le côté droit de la base: Adam 1743

N° d'inv. : 14.6
Credit Line : The Huntington Library, Art Collections, and Botanical Gardens

San Marino, California, The Huntington Library, Art Collections, and Botanical Gardens


  • Comte de Barri
  • 1901, Duveen, numéros de stock 21996 (Londres) et 16965 (New York)
  • 1914, acquis par Henry E. Huntington


  • 2008 Bennett and Sargentson
    French Art of the Eighteenth Century at The Huntington, Edited by Shelley M. Bennett and Carolyn Sargentson, The Huntington Library, Art Collections, and Botanical Gardens, in association with Yale University Press, New Haven and London, 2008, p. 453, cat. 160, ill., entry by Carolyn Miner


Museum's website, November 27, 2012:
The attribution of this group to Lambert-Sigisbert Adam, called Adam the Elder (1700–1759) is likely due to its confusing iconography and Adam’s known penchant for complicated allegories. The uncle of the sculptor Claude Michel, called Clodion, Adam was an accomplished and ambitious sculptor in his own right. He won the Prix de Rome in 1723 and made his early career in Rome restoring and copying antiques. His style was marked less by the influence of the antique and more by the baroque, and especially by the work of Gian Lorenzo Bernini (1598–1680). In 1733 he returned to Paris, where one of his numerous state commissions was to model a series of terracotta allegories of France and Louis XIV. The commission was declined and the statues were never realized. There is, however, no record of a terracotta sketch of the present composition by Adam or his brothers, with whom he collaborated, Nicolas-Sébastian (1705–1778) and François Gaspard Balthazar Adam (1710–1761). Additionally, the awkward proportions and inexpert carving preclude the hand of the skilled eighteenth-century sculptor.