Georges Jacquot

Georges Jacquot was born on 15 February 1794 in Nancy, in what is now Meurthe-et-Moselle, France. He received his first training from his father, Jacques Jacquot, an ornamental sculptor, before entering the Ecole des Beaux-Arts (the Academie royale de peinture et de sculpture) in Paris in 1813, where he studied under the painter Antoine-Jean Gros and the sculptors Francois-Joseph Bosio and Jules Ramey.

Jacquot took second place in the Prix de Rome competition in 1817 and won the Premier Grand Prix de Rome for sculpture in 1820 with his statue Cain maudit, entendant la voix de l'Eternel. The prize brought him a pensionnaire's residency at the Academie de France a Rome, at the Villa Medici, from 1821 to 1825.

Back in France, he built a long Salon career, exhibiting from 1817 through at least 1859. His marble Jeune nymphe descendant dans l'eau, shown at the Salon of 1824, was acquired by the Ministere de la Maison du Roi and entered the Louvre. He produced architectural sculpture for major Paris sites, including bronze reliefs and figures for the pulpit of the Abbaye de Saint-Germain-des-Pres (1829) and the relief La Moisson installed on the aile Colbert of the Palais du Louvre in 1857. His bronze Monument to Stanislas Leszczynski was unveiled in the Place Stanislas in Nancy in 1831 and remains one of his best-known public works. He was named Chevalier de la Legion d'honneur in 1857.

Georges Jacquot died on 25 November 1874 in Paris, in the 6th arrondissement. A separate historical figure, Georges Jacquot the bishop of Gap and archbishop of Marseille (1904 to 1970), shares the name but is not related to the sculptor and should not be confused with him.

Jacquot's work has been treated by museums and reference sources as representative of the academic Neoclassical sculpture trained at the Ecole des Beaux-Arts and refined at the Academie de France a Rome, in the tradition of his teachers Gros, Bosio, and Ramey. His prizewinning Cain maudit and his Louvre nymph are cited as characteristic of the mythological and biblical subject matter favored by Prix de Rome laureates of his generation, while his later architectural commissions for the Louvre and for Saint-Germain-des-Pres reflect the era's practice of integrating sculptors into major state building programs. No independently verifiable critical quotation from a named critic in a major outlet could be confirmed for this profile, so none is presented here.

No verified all-time auction record can be confirmed for Georges Jacquot from public sources as of 2026-07-13. A marble group, Young Faun and a Bacchante, was catalogued by Sotheby's Paris in a 2019 sale with a pre-sale estimate of EUR 40,000 to 60,000, but the publicly available catalogue record does not disclose a hammer price or confirm the lot sold. As a nineteenth-century academic sculptor whose principal works are held in museums and public monuments rather than circulating privately, his auction footprint appears thin, and any figure presented as a "record" for this artist should be treated with caution until confirmed directly against an auction house's official results.

There is no catalogue raisonne for Georges Jacquot, and no gallery or estate currently represents him; his sculpture survives principally in the Louvre and in public monuments in Paris and Nancy, rather than in a broad network of museum collections confirmed by primary sources. His documented auction presence is sparse and no confirmed record price could be established, so collectors should verify any market claim about this artist directly against primary auction house records rather than relying on secondary listings. Attribution should rest on Salon documentation, museum accession records, and institutional databases such as the INHA Agorha entry rather than on a certificate-of-authenticity program, since none exists.