Antoine-Louis BaryeAntoine Louis Barye Dromadaire D’Algerie Camel1870
1870
About the Item
- Creator:Antoine-Louis Barye (1796 - 1875, French)
- Creation Year:1870
- Dimensions:Height: 7.4 in (18.8 cm)Width: 10 in (25.4 cm)Depth: 3 in (7.62 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Dallas, TX
- Reference Number:1stDibs: LU2724214282362
Antoine-Louis Barye
The son of a goldsmith, Parisian born Antoine-Louis Barye was a sculptor of animal subjects and acclaimed, not only for his apparent skill but as the founder of what became known as the French Animaliers School. Among his patrons were representatives of the state government and royalty, including the Duke of Orleans and the Dukes of Luynes, Montpensier and Nemours.
Well compensated financially, Barye was able to buy the best of materials and hire the country's most skilled foundry craftsmen. The foundry he hired was owned by Ferdinand Barbedienne and casts from this period were stamped with the letters, FB. However, he did not make a lot of money from his work because he was such a perfectionist that often he would not sell his work because he thought it was not "quite right." In 1848, he declared bankruptcy and his molds and plaster casts were sold along with the copyrights.
Barye's specialty was aroused, angry-seeming wild game such as lions and tigers and elephants, but he also did equestrian groups and mythology figures. In order to do realistic depictions of animal anatomy, he spent much time at the Jardin des Plantes in Paris. His early training was as an apprentice to a metal engraver, but being drafted in the army in 1812 ended that education. In 1832, he had established his studio, and unique at that time was his method of cold stamping his bronze casts so that each one had a special number. He had his first entry, The Milo of Croton, in the Paris Salon in 1819, winning a second prize. In 1831, a work regarded as a masterpiece, Tiger Devouring a Gavial, was in the Salon and purchased for the Luxembourg Gardens, which is now in the Louvre. However, many of his subsequent Salon submissions were rejected and so angered him that between 1836 and 1851, he refused to submit entries. In 1851, he again exhibited at the Salon with Jaguar Devouring A Hare, and this work, like the 1831 entry, was placed in the Luxembourg Gardens and eventually in the Louvre.
In spite of problems with the Salon, Barye received many accolades for his work, and the period of 1837–48 was considered the most productive time of his career. However, in 1848, when he lost control of his work and it was reproduced by others including Martin and Barbedienne, the sculptures, according to some art professionals, are not as skillfully executed. In 1848, after his bankruptcy, Barye became director of Casts and Models in the Louvre, until 1850, when he was replaced by Emmanuel Fremiet. It was a very difficult time for him. However, within a few years, he began receiving accolades for the quality and uniqueness of his work, and people began appreciating the powerful images of his sculpture, especially the wildlife in their natural surroundings. In 1854, he was appointed Master of Zoological Drawing in the Musée National d'Histoire Naturelle and held this position until his death in 1875.
- ShippingRetrieving quote...Ships From: Dallas, TX
- Return PolicyA return for this item may be initiated within 14 days of delivery.
- Antoine-Louis Barye Petit Fou De Rome BronzeBy Antoine-Louis BaryeLocated in Dallas, TXAntoine-Louis Barye (French, Paris 1795–1875 Paris) Roman Jester (Petit fou de Rome) modeled probably circa 1874, executed after 1875 Measure: Height 6.25 inches Condition: Very go...Category
1870s Figurative Sculptures
MaterialsBronze
- Louis Ernest Barrias Bronze SculptureBy Louis Ernest BarriasLocated in Dallas, TXFrench dore bronze depicting a seated figure of a boy with tablet by Louis Ernest Barrias, French(1841-1905) Circa 1912 Modeled as a partially nude youth seated with a tablet and p...Category
1910s Figurative Sculptures
MaterialsBronze
- Antoine Louis Barye “Tiger devouring A Gazelle”By Antoine-Louis BaryeLocated in Dallas, TXAntoine-Louis Barye (FR. 1795-1875) FRENCH “TIGRE DEVORANT UNE GAZELLE” (TIGER DEVOURING A GAZELLE); (SECOND VERSION) At this point; the only thing you can hear is the gazelle gaspi...Category
1880s Figurative Sculptures
MaterialsBronze
- Antoine Louis Barye Taureau debout, seconde versionBy Antoine-Louis BaryeLocated in Dallas, TXAntoine-Louis Barye (French, 1795-1875) Taureau debout, seconde version (Standing bull, second version) Rich milk chocolate patina and excellent detail. Signed “Barye” and marked ...Category
1880s Figurative Sculptures
MaterialsBronze
- Antoine Louis Barye Bronze EagleBy Antoine-Louis BaryeLocated in Dallas, TXAntoine-Louis Barye (French, 1795-1875)Aigle - Ails Étendues, Bec Ouvert (An Eagle with Wings Extended and Open Beak) A powerfully detailed sculpture of an eagle in heavy bronze exe...Category
1880s Figurative Sculptures
MaterialsBronze
- Vasili Grachev Troika PassageLocated in Dallas, TXVasili Grachev, 1831-1905. A patinated chocolate brown bronze grouping of horses pulling a troika with figures. A Classic Russian bronze grouping of three horses tearing through the ...Category
1870s Figurative Sculptures
MaterialsBronze
- Surreal Figurative Sculpture, "Lovers"Located in San Diego, CAThis is a one of a kind original bronze surrealist figurative sculpture by San Diego artist, Debbie Korbel. Its dimensions are 41" x 42" x 34". A certifi...Category
2010s Surrealist Figurative Sculptures
MaterialsBronze
- Antique Italian Grand Tour Bronze Marble Bust Sculpture Dante Alighieri 1880Located in Portland, ORA good antique Italian Grand Tour Bronze and marble bust of Dante Alighieri, circa 1880. The bronze is most likely Florentine and mod...Category
Late 19th Century Italian School Figurative Sculptures
MaterialsMarble, Bronze
- WHITE HINGED POEM DRESS,By Lesley DillLocated in New York, NYLESLEY DILL WHITE HINGED POEM DRESS, 1994 patinated bronze 55 x 37 x 30 in. 139.7 x 94 x 76.2 cm. Edition of 4Category
1990s Contemporary Figurative Sculptures
MaterialsBronze
- Growing in a Fragmented LandscapeBy Jennyfer StratmanLocated in Los Angeles, CAThere is a metaphorical interplay between the natural imagery international artist, Jennyfer Stratman, uses and its multiple meanings. While the human figure features strongly, it is...Category
21st Century and Contemporary Contemporary Figurative Sculptures
MaterialsMetal, Bronze, Enamel, Steel, Copper
- Cefiro - Renaissance Inspired Bronze Sculpture of an Acrobat set on Tall StandBy Jesus Curia PerezLocated in Chicago, ILCefiro is derived from the Spanish word for Zephyr, meaning a soft gentle wind which brings spring to the Mediterranean. The word also depicts beauty and playfulness. This figure p...Category
21st Century and Contemporary Contemporary Figurative Sculptures
MaterialsBronze, Steel
- The Story of Joseph from the Second Baptistery Doors, Florence (“The Gates of PaBy Ferdinand BarbedienneLocated in New York, NYFerdinand Barbedienne (Saint-Martin-de-Fresnay 1810 – 1892 Paris) after Lorenzo Ghiberti (Florence, 1378 – 1455) Signed at the lower right of the principal relief: F. BARBEDIENNE Provenance: Private Collection, USA. Barbedienne’s “Gates of Paradise” reliefs are one of the triumphs of nineteenth-century bronze casting and patination. The nine panels that comprise our example are half-size reductions of the famous originals by Lorenzo Ghiberti, made for the Baptistery of Florence and now housed in the Museo del Opera del Duomo. Mounted in an impressive, mullioned frame surround, our work is an exceptional exemplar of the Renaissance Revival, the broadly influential style and movement that infused architecture, design, and artistic culture in the latter half of the nineteenth century. The central scene, The Story of Joseph, is perhaps the most celebrated of the entire series depicting as it does seven episodes from the Biblical narrative integrated into a single composition: Joseph cast by his brethren into the well, Joseph sold to the merchants, the merchants delivering Joseph to the pharaoh, Joseph interpreting the pharaoh’s dream, the pharaoh paying him honor, Jacob sending his sons to Egypt, and Joseph recognizes his brothers and returns home. The surrounding reliefs—two vertical figures in niches, two recumbent figures, and four portrait heads in roundels—are as well faithful reductions of Ghiberti’s original bronzes on other parts of the doors. The maker of these casts was the renowned 19th-century French fondeur Ferdinand Barbedienne. Gary Radke has recently written of this great enterprise: “The Parisian bronze caster Ferdinand Barbedienne began making half-sized copies of ancient and Renaissance sculpture in the 1830s. His firm benefitted enormously from the collaboration of Achille Collas, whom Meredith Shedd has shown was one of numerous pioneers in the mechanical reproduction of sculpture. Their competitors largely devoted themselves to reproducing relief sculpture, but Collas devised a process for creating fully three-dimensional copies. A tracing needle, powered by a treadle, moved over the surface of a full-sized plaster cast or bronze of the original and triggered a complementary action in a cutting stylus set over a soft plaster blank…He signed an exclusive contract with Barbedienne on November 29, 1838, and won medals for his inventions in 1839 and 1844. Barbedienne’s half-sized copies of the Gates of Paradise were famous not only for their fidelity to the original, but also for the way their gilding…suggested the glimmering surface that was hidden under centuries of dirt. Some critics even saw Collas’s and Barbedienne’s work as ‘philanthropic, an exemplary adaptation of industry to the requirements of art, the artist, the workers, and the public alike.’ At 25,000 francs, Collas’s and Barbedienne’s reduction of the Gates of Paradise was singularly more expensive than any other item for sale in their shop. All the reliefs, individual statuettes, and busts were cast separately and could be purchased either by the piece or as an ensemble. Fittingly, Barbedienne’s accomplishment earned him the Grand Prix at the 1878 Paris Exposition Universelle, along with numerous other medals.” Three complete examples of the Barbedienne-Ghiberti doors are known. One, first installed in a chapel in the Villa Demidoff of San Donato near Pratolino, was later acquired by William Vanderbilt...Category
Late 19th Century Figurative Sculptures
MaterialsBronze