After Antoine-Louise-Barye (French, 1796-1875) "Tigre Qui Marche" Bronze Electrotype(684 views)
AFTER ANTOINE-LOUISE BARYE (FRENCH, 1796-1875) SCULPTURE OF "TIGRE QUI MARCHE"
Patinated Copper Electrotype, probably c. 1910-20, Pompeian Bronze Co.
Item # 1408VKR10P
This is a very nice sculpture after Antoine-Louise Barye's "Tigre Qui Marche", originally executed in 1836. This work is executed using copper electrotyping, a method invented in the mid 19th Century as a means of exactly reproducing an object of irregular surface by using electrical current to deposit copper to a core mold. This copper surface can then be patinated in the same manner as bronze. The front edge of the sculpture has the faint worn impression of Pompeian Bronze Co., a firm that was founded by Paul Mori in the late 19th Century under the name of Galvano Bronze, later being renamed to Pompeian Bronze Company in the early years of the 20th century after being sold to the employees of the firm. The workmanship in the sculpture is exceptional, the wonderful nearly black patina highlighted with specks of golden copper from years of use and handling - a fine contrast is found in the matte patina against the polished shine of primary surfaces. The detail of the surface is intense and well formed, the fierce expression of a hunter captured with nearly perfect accuracy from Barye's original works. It is approximately one centimeter smaller in either direction than the original work as authorized in Barye's lifetime, meaning the sculpture is electrotyped from another sculpture instead of the original molds. The base is covered in a solid sheet of copper, the entire work formed without seam in a singular process. For collectors passionate about works from Barye, this is a very fine example to be had at a very affordable price.
Further Reading and Notes: The Barye Bronzes: A Catalogue Raisonne, Stuart Pivar, p. 157 (Tigre qui marche)
Biography: Antoine-Louis Barye was born in September of 1796 to Pierre Barye, a goldsmith in Paris. After leaving the military in 1816, Barye studied under classical sculptor Bosio, working in the studio of painter Gros in 1817 and was accepted in the Ecole des Beaux-Arts in 1818. Passionate about animal subjects, Barye studied them in a level of depth that was uncommon, approaching his subjects scientifically. He spent hours making anatomical studies in dissecting rooms, the Musee deHistoire Naturelle, and at the Jardin des Plantes where he watched living animals move in their natural habitats. Every aspect of the animal fascinated him, including their mannerisms, behaviors and biological makeup. Rather than imparting human emotions to his subjects, the depth of his study resulted in works that truly captured the energy of the beast, conveying the wild and highly individualistic personality of each species. By no means an immediate success, Barye sculpted and exhibited extensively with little recognition. After many years of failure, he stopped exhibiting for a period and in 1823 took up employment with goldsmith Fauconnier for eight years, effectively abandoning the Beaux Arts until 1827 when he began exhibiting again. It wasnâÂÂt until he presented âÂÂTigre Deviant Un GaviaâÂÂ at the Salon in Paris 1831 that his work received significant notice. He left employment with Fauconnier and focused himself entirely on his art. Starting in 1838, Barye began casting his own works, prior to that relying on Honore Gonon for the majority of foundry work. Meticulous in his attention to detail, he is noted as regularly rejecting beautiful works that had even a minor flaw, generally insisting on sculptures leaving his foundry being numbered - so involved in the foundry process was Barye that he became a licensed bronzier in 1839 and is noted as being involved even in the chasing and application of patinas on his works. Failure was never far from his door, Barye declared bankruptcy in 1848, at which point his works were cast by the Ferdinand Barbedienne foundry for at least the next ten years as he remained under the burden of debt. After his death in 1875, rights to much of his work was purchased by Barbedienne who subsequently put forth one hundred and twenty of these in their 1887 catalogue. While his work was of significance in itâÂÂs own right, raw and powerful with a naturalism that was ignored in preference of romance, of even greater significance is the impact he had on his contemporaries and generations of sculptors to follow. He initiated a movement of âÂÂAnimalierâ sculptors that, though of small membership and output, became an important and prominent niche in nineteenth century art.
Patina wear to the ears, along the length of the back, at the edges of the base and spot of patina loss at base of tail. Light scuffs along sides of base. Dent in one corner.
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Dimensions: 15 5/16" L x 3 7/8" D x 8 5/8" H
Artist or Maker: AFTER ANTOINE-LOUISE BARYE (FRENCH, 1796-1875)
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