Louis-Simon Boizot

In 1787, a royal commission from the comte d’Angiviller director of the Bâtiments du Roi, for a series of heroic statues of illustrious French men for Versailles, resulted in Boizot's bust of Racine.

[2] From 1773 to 1800 Boizot directed the sculpture workshop at Manufacture nationale de Sèvres, producing the series of white unglazed biscuit figures with a matte finish imitating marble, in which Neoclassicism was softened by a Rococo sweetness, or by a sentimental moralizing, such as in his hard-paste Sèvres porcelain group of a woman giving aid to a crouching woman with two children, allegorical of Charity, ca 1785, now at the Getty Museum.

Such a case is provided by the pair of draped female caryatid figures, balancing baskets on their heads and holding flowers and grapes in their laps applied to the corners of a drop-front secretary (secrétaire à abattant) that was produced under the direction of the sculptor and entrepreneur Jean Hauré for Louis XVI's Cabinet-Intérieur at Compiègne, 1786-87.

Among a host of craftsmen (Guillaume Beneman stamped the carcase) Boizot received 144 livres for his terracotta model, "de stil antique".

Boizot's models for seated reading and writing female figures, conventionally called L'Étude and La Philosophie (1780), originally destined to be executed in Sèvres biscuit porcelain,[7] were also copied in gilt-bronze by the ciseleur-doreur François Remond[8] and assembled as mantel clocks retailed by the marchand-mercier Dominique Daguerre.