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  1. Collection/
  2. Victoria and Albert Museum/
  3. Time and Opportunity
Time and Opportunity, David Le Marchand, ca. 1700 - ca. 1720
David Le Marchand, portraitDavid Le Marchand1674–1726

Time and Opportunity

ca. 1700 - ca. 1720 · Statuette

Peut-on la contempler ?

Oui, elle reçoit

Victoria and Albert Museum

Londres, Royaume-Uni

SalleSculpture, Room 111, The Gilbert Bayes Gallery

Présentée au public. Qui s’en porte garant est indiqué ci-dessous.

Vérifié
il y a 12 jours
Dans cet état depuis
25 sept. 2026
Source
Les données de collection du musée lui-même
Sur la cartePage du musée

À propos de la sculpture

This figure group, carved by David Le Marchand in ca. 1700-1720, is based on a life-size garden sculpture at Versailles by Thomas Regnaudin, which is sometimes called The Abduction of Cybele by Saturn. The group represents Time and Opportunity with Penitence. The winged figure of Time seizes Opportunity, but she seizes her own forelock and kills herself with a long spear. Penitence crouches beneath with a lion. Le Marchand specialised in portraiture and this is a relatively unusual subject. Charles Avery believes its sophistication indicates it is a mature or late work, although the inspiration is French, recalling the sculptor's roots.

Lire la suite

David Le Marchand (1674-1726) was famed for his ivory carvings, particularly his portraits. He was a native of Dieppe, France, and came from a Huguenot, or Protestant, family. With the Revocation of the Edict of Nantes in 1685, and the consequent persecution of non-Catholics, he had to flee France. He was next recorded in Edinburgh in 1696, where he is documented as receiving official permission to open a shop and take on apprentices. He was in London by 1700, when he started to achieve a reputation for his portraits. Despite his wide circle of important patrons and his evident success, Le Marchand apparently died in poverty at the French Hospital, though the exact reasons for this are unknown.

He is recognised as the most distinguished ivory carver to have worked in England in the early 18th century, a period when this art enjoyed a popularity unknown since the Middle Ages.

Victoria and Albert Museum

Notice

ca. 1700 - ca. 1720
16741726
Numéro d’inventaire
A.1-1935

Ce qu’elle montre

LionTimeOpportunityPenitence

Au catalogue

SculptureIvoireBaroqueXVIIIe siècleRoyaume-Uni

Sources

  • Victoria and Albert Museum : les données ouvertes du musée · obtenue il y a 12 jours
  • Image : Victoria and Albert Museum — © Victoria and Albert Museum, London

Autres œuvres : David Le Marchand

Toutes les œuvres
Satyr and Nymph, David Le Marchand, ca. 1696-1700

Satyr and Nymph

ca. 1696-1700 · Victoria and Albert Museum

David Melville, 3rd Earl of Leven and 2nd Earl of Melville, David Le Marchand, ca. 1696 - ca. 1700

David Melville, 3rd Earl of Leven and 2nd Earl of Melville

ca. 1696 - ca. 1700 · Victoria and Albert Museum

Thomas Guy, David Le Marchand, 1700-1724

Thomas Guy

1700-1724 · Victoria and Albert Museum

King George I, David Le Marchand, ca. 1714

King George I

ca. 1714 · Victoria and Albert Museum

Venus and Cupid, David Le Marchand, ca. 1718

Venus and Cupid

ca. 1718 · Victoria and Albert Museum

Matthew Raper, David Le Marchand, 1720

Matthew Raper

1720 · Victoria and Albert Museum

Anne Churchill, Countess of Sunderland, David Le Marchand, ca. 1699

Anne Churchill, Countess of Sunderland

ca. 1699 · Non exposée · Victoria and Albert Museum

King George I (b.1660; reigned 1714 - d. 1727), David Le Marchand, 1714-1720

King George I (b.1660; reigned 1714 - d. 1727)

1714-1720 · Non exposée · Victoria and Albert Museum

Sous le même toit : Victoria and Albert Museum

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