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  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull
  • Antoine Louis Barye Animalier Bronze Rearing Bull

Exceptionally fine bronze study of rearing bull. The surface has a wonderful deep autumnal patina with hues of brown, orange, black and green undulating over the surface and defining the contours and latent power of this magnificent creature with meticulous attention to detail. It is this combination of qualities that raises the limited gold ‘FB’ editions above production line bronzes into works of art. Signed Barye and inscribed F Barbedienne Fondeur with Gold ‘FB’ stamp.

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Additional Information

Height

Width

Condition

Circa

Foundry

Materials

Bronze

Book Ref

BARYE Catalogue Raisonne des Sculptures by Michel Poletti – Alain Richarme

Page No.

324

Ferdinand Barbedienne and the gold-stamped Barye bronzes

The Figaro of 23rd May 1892 in its lyrical adieu to Ferdinand Barbedienne, revealed that the founder had died surrounded by his collection of ‘beaux bronzes de Barye’. He was in his apartment above the firm’s premises in the Rue Poissoniere where he had assembled a private collection of paintings, drawings and sculptures, the centrepiece of which was a fine group of Barye bronzes.

Barye used numerous founders in his career, experimenting with lost wax and sand-casting along with unusual patinating techniques, which, in his early years, he personally supervised. However between 1845 and 1857 during the association with his business partner, Emile Martin, Barye’s own foundry was unable to cope with the huge demand for his sculptures. It was decided that the Barbedienne foundry would be used to edit the majority of Barye’s ‘Ouevre’ and Barbedienne became proficient in Barye’s techniques to the point of equalling the quality of the artist’s own Atelier (workshop).

It has always been notoriously difficult for collector’s to date Barye casts, however, one group of casts which can be dated with some certainty are those stamped with a golden ‘F.B.’ which measures approximately 5 x 11 mm and is positioned on the base of the sculpture. These casts date from between 1876 and 1889. These are the dates of publication of two Barbedienne catalogues that listed these special limited edition models, the letter being the year of the great Paris Exposition Universelle.

A crucial date is 1876, the year following Barye’s death, when Hotel Drouot dispersed in a six day sale in February the original models from his estate (referred to as the Vente Barye). The sculptor Henri Jacquemart bid on behalf of Barbedienne and subsequently the models purchased were edited in the foundry’s catalogues. These fresh casts were of the highest quality, and appear from the moulds without the obvious surface intervention of the chiseller’s hand. Although it is not documented how many received the accolade of the gold seal it is likely that this would have only been added to the first five or six casts as the surface would start to lose detail and would need to be worked on.

The significance of these gold seal casts is in their collectability as deluxe editions for discerning collectors and as sculptures commemorating the long association between the great sculptor Antoine-Louis Barye and the man who dominated the world of Paris foundries for more than half a century Ferdinand Barbedienne.

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SKU: 7653

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