Fine 19th Century Bronze Rabbit by Antoine Louis, Signed Barye F. Barbedienne

A 19th century Belgian gilt bronze Louis XV style mantel clock. Dial Marked: Honiogerie De La Poste, d.h Leemans. Dimensions: Height 29", width 17, dept...

A French patinated bronze sculpture of a grouse with wings spread, carrying a sheaf of wheat in its beak, raised on oval base, after a model by Alfred Barye (1839-1882) Incised: BAR...

A magnificent French patinated bronze figural group entitled 'Gloria Victis' by Marius-Jean-Antonin Mercie, raised on ormolu mounted rouge marble clock base. Original rich dark patina. Mercié's original plaster sculpture of Gloria Victis won a medal at the 1874 Paris Salon. This highly detailed sculpture is Cast by Barbedienne foundry who was the leading manufacture of artistic bronzes during the second half of the 19th century, from a model by Marius-Jean-Antonin Mercie in the last quarter 19th century. One example of this piece is at the National Gallery of Art in Washington DC. Another one can be found in Bordeaux, France, where it faces Saint André's Cathedral. Signed A. MERCIÉ The base titled GLORIA VICTIS Inscribed F. BARBEDIENNE, Fondeur Paris, circa 1875 Measures: Height 44" (111 cm) Width 22" (56 ccm) Depth 18" (45 cm) The Gloria Victis sculpture...

This charming 19th century pair of Polichrome metal figures by Louis Hottot depict a young woman and a young man. Rendered in lifelike detail, these busts seem to show the pair in co...

A pair of superb quality 19th century gilt and patinated bronze orientalist busts. Each young lady dressed in traditional middle eastern attire...

A magnificent 19th century French Louis XVI style gilt and patinated bronze clock depicting mother and child, by Raingo Frères, Paris. The dial marked: Raingo Fres, A Paris. Circa ...

ANTOINE-LOUIS BARYE French, 1795-1875 "Lionne du Sénégal" Patinated bronze signed in base "BARYE" incised "F. Barbedienne, Fondeur, Paris" conceived 1857, sand-cast circa 1900 ...

'Elephant du Senegal' A late 19th century bronze sculpture by Antoine-Louis Barye (1795-1875) of a charging African Elephant. Excellent green patination and hand chased detail. Signe...

Magnificent and extremely rare Antoine-Louis Barye sculptural bronze titled "Peace". Beautiful and rich nuance of red and green patina on a representation of a resting shepherd and a...

"PANTHÈRE DE TUNIS NO. 2" AFTER A MODEL BY ANTOINE-LOUIS BARYE (FRENCH, 1796-1875) Signed in base "BARYE", incised to edge "F. Barbedienne Fondeur"; underside incised "24 / Z"; cast ...

ANTOINE-LOUIS BARYE French, 1795-1875 "Tigre Qui Marche" Dark brown patinated bronze Signed in base "A.L. BARYE", incised "F. BARBEDIENNE FONDEUR, PARIS", cold-stamped FRANCE cold-tooled to underside 19.691 conceived 1841, cast circa early 20th century Item # 111GPP20Q Barye's ability to merge our romantic idealization of nature with a colder reality of nature's predator is beautifully represented in this striding cat. Originally conceived in 1841, Tigre Qui Marche (Walking Tiger...

A delightful late 19th century animalier bronze group of a family of resting deer including alert Stag and resting Doe & Faun. The subject modelled with wonderful intuition and skill. The surface has a rich green patination and excellent hand chased detail. Raised on a stepped bronze base, signed Barye and inscribed F Barbedienne Fondeur. Additional information Height: 22 cm Width: 25 cm Depth: 14 cm Condition: Excellent Original Condition Foundry: Barbedienne Circa: 1870 Materials: Bronze Book Ref BARYE Catalogue Raisonne des Sculptures by Michel Poletti – Alain Richarme Page no. 301 Description Antoine Louis Barye “The Michelangelo of the Menagerie” These are the words of Théophile Gautier in praise of Barye’s genius. Throughout his life Barye endeavoured to capture the fundamental nature of the animal kingdom in all its diversity, wild or tame, exotic or familiar, cruel or gentle, bringing to life the roaring, trembling, living beasts. The son of a goldsmith, apprenticed to a steel engraver at a young age, Barye found himself making moulds for ornaments, acquiring knowledge that he would later build on to produce his exquisitely chased bronzes. When he was called up at seventeen, he joined the army’s topographic brigade where he used clay to model raised relief maps...