Pair of Carrara Marble Busts of the Emperor Napoleon and Empress Marie Louise

“I am a true Roman Emperor; I am of the best race of the Caesars—those who are founders.” –Napoleon Bonaparte, 1812

Among the most iconic and celebrated figures in history, Napoleon Bonaparte’s legacy has been immortalized in countless works of art. Yet few pieces carry the personal significance and rarity of this extraordinary pair of Carrara marble busts, almost certainly commissioned by the Emperor himself. These stunning sculptures, depicting Napoleon and his second wife, Empress Marie Louise, stand as some of the most exceptional examples of Napoleonic busts not currently housed in a museum—masterpieces of both historical and artistic importance.

The busts were likely imperial commissions created to adorn key locations during Napoleon’s reign, embodying the grandeur of his empire. After Napoleon fell from power, these sculptures passed from his personal collection to the next most significant ruler of 19th-century France: his nephew, Emperor Napoleon III. During his reign, both busts were prominently displayed at the imperial Château de Compiègne, one of Napoleon III’s most important palaces. Following his abdication in 1871, the Emperor and Empress Eugénie took the busts with them into exile in England. They were among the few treasured possessions they could bring. After Napoleon III’s death, the busts were separated by Empress Eugénie and later reunited in 1936 by the esteemed Parisian art dealer Élie Fabius.

As a visionary leader and cultural influencer, Napoleon was known to commission only the finest artists to craft his likeness in marble. The bust of Empress Marie Louise is signed by the renowned Italian sculptor Gaetano Matteo Monti of Ravenna, likely created around 1810 to commemorate her marriage to the Emperor. Monti’s skill in rendering her delicate features in marble exemplifies his exceptional talent, immortalizing her elegance in stone.

The accompanying bust of Napoleon, attributed to the celebrated sculptor Lorenzo Bartolini, was almost certainly carved earlier, around 1807. Bartolini was one of Napoleon’s favored artists, personally selected by the Emperor to direct the prestigious Carrara sculpture workshop in 1807. The exemplary craftsmanship of this bust, particularly the detailed laurel wreath and the nuanced portrayal of Napoleon’s facial musculature, is consistent with Bartolini’s renowned imperial bust now housed at Versailles. This attribution places Napoleon’s bust as one of the finest not presently housed in a museum collection.

The only other similar pair of marbles is the one attributed to Angelo Pizzi at the Museo Correr in Venice, highlighting the exceptional rarity and quality of our pair. The finesse of the carving and the elegant compositions of these busts surpass their Venetian counterparts, suggesting that the Pizzi busts in Venice may have been modeled after these superior works by Bartolini and Monti. Napoleon revered the legendary leaders of the Roman Empire—especially the military genius of Julius Caesar—and many of his iconic images, including these busts, posed Napoleon and his Empire as heirs to the great dynasty of Caesars.

Standing on beautiful matching bases, these monumental busts possess both an imposing presence and an undeniable beauty. Their storied provenance—having graced the imperial residence of both Napoleon I and Napoleon III—makes them an extraordinary find. To own these very works, once displayed with pride by two of history’s most significant rulers, is a once-in-a-lifetime opportunity. These busts are more than fine marble sculptures. They are tangible links to the grandeur and legacy of the Napoleonic Empire, embodying the iconic reign and strategic genius of one of the most legendary leaders in history, Napoleon Bonaparte.

Bust of Marie Louise signed “GMR” for Gaetano Matteo Monti of Ravenna

Circa 1807 and 1810

Bust of Napoleon: 30 1/16″ high x 24″ wide x 12 1/2″ deep
On base: 74 3/8″ high

Bust of Marie Louise: 30 9/16″ high x 20″ wide x 13 1/8″ deep
On Base: 74″ high

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Provenance of the Bust of Napoleon:
Commissioned by Napoleon I, Château de Compiègne (likely), circa 1807
The personal collection of Emperor Napoleon III at Château de Compiègne
Thence to Napoleon III’s widow, the Empress Eugénie
Gifted to Firmin Rainbeaux by Empress Eugénie on 18th April 1881
By descent from Firmin Rainbeaux to his son Félix Rainbeaux
Sale, Hôtel Drouot, Paris, “Succession de M. Félix Rainbeaux, Fils de Firmin Rainbeaux, écuyer de l’Empereur Napoleon III souvenirs napoléoniens: fusils, pistolets, couteaux de vénerie, dagues, miniatures etc,” 23rd October 1936, lot 267
Élie Fabius, purchased from the above sale
Private collection, Stuttgart, Germany
Sale, Galerie Koller, Zurich, 2nd November 1995, lot 4162, with bust of Marie Louise, both illustrated on the front cover
Private collection, Switzerland
M.S. Rau, New Orleans

Provenance of the Bust of Marie Louise:
Commissioned by Napoleon I, Château de Compiègne (likely), circa 1810
The personal collection of Emperor Napoleon III at Château de Compiègne
Thence to Napoleon III’s widow, the Empress Eugénie
Sale, Hampton & Sons of London, “English and French Furniture, the Remaining Library, Porcelain, Sculpture, Bronzes, Table Plate, China and Glass Services, Pictures, Drawings, Prints, Vintage Wines etc” from Empress Eugénie’s home at Farnborough Hill, Hampshire, 18–27th July 1927, lot 1328
Élie Fabius, purchased from the above sale
Private collection, Stuttgart
Sale, Galerie Koller, Zurich, 2nd November 1995, lot 4162, with bust of Napoleon, both illustrated on the front cover
Private collection, Switzerland
M.S. Rau, New Orleans

Literature:
Georges Mauguin, “L’Iconographie Napoléonnienne au Palais National des Arts”, in Revue de l’Institut Napoléon, 1er trimestre, 1938; opposite p. 40, illustrated
Gérard Hubert, La Sculpture dans l’Italie Napoléonienne, 1964, p. 349, illustrated
Galerie Koller, Zürich, Sale catalogue, Eine Hochbedeutende Europäische Privatsammlung: Napoleonica, möbel, bronzen, pendulen, skulpturen, gemälde, miniaturen, 02 November 1995, lot 4162, illustrated
Gérard Hubert and Guy Ledoux-Lebard, Napoléon, portraits contemporains bustes et statues, 1999, p. 98, pl. 70, illustrated
Olivier Gabet, Un marchand entre deux empires – Élie Fabius et le monde de l’art, 2011, p. 77
Enrico Noè, “Lo scultore Angelo Pizzi (Milano 1775–Venezia 1819)” in Saggi e Memorie di storia dell’arte, vol. 36, 2012, p. 264, pl. 48 & p. 265, pl. 49, illustrated

Exhibited:
Musée National de Malmaison, De Napoleon Ier à Napoleon III, Souvenirs de la Famille Impériale, Conservés par l’Impératrice Eugénie dans sa Résidence de Farnborough et Provenant de sa Succession 1928, no. 15, p. 10
Musée de l’Orangerie, Paris, Souvenirs du Roi de Rome, 1932, no. 209
Bibliothèque National, Paris, 318 Lettres de Napoléon à Marie-Louise, 1935, no. 10
Palais National des Arts, Paris, Chefs d’Oeuvre de l’Art Français, 1937, nos. 1105 & 1106
The World’s Fair, New York, Five Centuries of History Mirrored in Five Centuries of French Art, 1939, no. 322, pl. LV & no. 323, pl. LIV