EMMANUEL FREMIET
French, 1824-1910

"Credo"

Silvered bronze on rouge marble | signed "E FREMIET" and numbered 565 verso | a lifetime cast by the atelier of Charles More

16 3/8" H (with base), 15 3/8" H (bronze only) x 5 3/8" diameter (base), 12" W

An intricately cast model of a knight raising his arms to hold the engraved banner of "CREDO", it is a very fine lifetime casting executed by the Charles More atelier for Emmanuel Fremiet, numbered on the reverse with cold-stamping 565. The surface is beautifully textured with a brilliant detailing of the knight's face, the firmness of his features and resolution of spirit immediately evident in the careful articulation of the bronze. His armor is likewise a perfect picture of realism with careful attention to even the smallest details. It is finished in a brilliant silvered patina. The base is signed in the typical manner E. FREMIET.

When discussing the creation of the small statuette, Emmanuel Fremiet wrote: "I suddenly learned, by a letter from a friend, that one of my special fervent prayers was answered: in my momentum of recognition, I found myself standing, my head bent, my arms in the cross, and murmuring my whole faith. In this moment of love, I made my Credo." 

It debuted in Antwerp in 1885. This master-model was exhibited in polychromed plaster and was thereafter cast in bronze so that it could be sold to collectors.

It quickly became one of his most popular sculptures, selling 112 copies within the first 27 months. This figure was surpassed only by Saint Michel and far exceeded the sales of the equestrian Jeanne d'Arc, despite the latter's significance on the eve of the 1914 war - that model saw 47 examples sold.

Around 1910, Credo likely held great significance for the public, and we might discover the reason for its popularity in the interpretation of Jacques de Biez when he authored the biography on Fremiet. He saw Credo as "the enlightened and almost supernatural man" (1), recognizing that a powerful force is required to inspire people, this being the very concept of the Fatherland. That force is faith, the very essence of strength and devotion; it is fully captured in the Creed. According to Fauré-Frémiet, the sculptor may have even portrayed himself in the guise of the knight, a theory with some merit in light of the sharp features of the figure.

Always a cherished model that to this day remains highly sought-after by collectors, it was initially cast by Charles More and was later offered by Barbedienne, who continued to cast the sculpture posthumously.

When a fine cast is available on the open-market, the range can be wide depending on the level of detail, nuance and market conditions. For example, an early cast numbered 968 was offered at Christie's, New York at the sale of Christopher Wood (28 February 2007, lot 281, 16 1/2" H including the rouge marble base) where it achieved 38,400 GBP while at Jackson's International, a Barbedienne casting (14 November 2012, lot 843, 15" H) sold for $ 6,000. Jackson's sold another 15" model in their 02 December 2008 sale (lot 345) for $ 6136 and Sotheby's, New York sold a 16" (including rouge marble base) Barbedienne example for $ 5,000 at their 19 April 2013 sale. A numbered cast sold at Sotheby's, London in 17 May 2011 (lot 26) for 3750 GBP (roughly converting to $ 6075 USD at the time of sale) and another example sold at Sotheby's, London on 29 April 2003 (lot 169) for 4080 GBP (roughly converting to $ 6400 USD at the time of sale).

Reference:

• Emmanuel Frémiet 1824-1910: La Main et le Multiple, Catherine Chevillot, 1989
• E. Frémiet, Jacques de Biez, 1910 [(1) p. 217]

Condition Report:
Probably repatinated at some point. Trace wear to raised elements throughout. Small chips and losses around the base. Carefully cleaned and a brilliant presentation.

ref. 508LCQ22P