Antoine-Louis Barye French, 1795-1875

There is an open casting joint at the base of the tail and there is some movement in the tail. The overall patina shows wear consistent with age, notably on the body of the horse, especially running down the spine. There is a gash about 5mm long and a few smaller abrasions on the near hind quarters. There are various other minor surface scratches. There is some surface dirt. Otherwise the condition is good. and would be greatly enhanced by careful, professional waxing. Detailed photographs of the bronze are available on request.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

'Le Michel-Ange de la Ménagerie' was the tribute given to Barye by the celebrated French art critic Théophile Gautier. Considered the inventor and undisputed master of animalier sculpture, Barye created an exceptional oeuvre parallel to that of his friend, the Romantic painter Eugene Delacroix. The Cheval Turc is generally regarded as the model which most powerfully epitomes his unique sculptural vision.

Infused as it is with the Romantic spirit of Barye's own age, the Cheval Turc also recalls the Antique equestrian group of Marcus Aurelius and the Renaissance precedent of Leonardo's drawings of a rearing horse, studies for a monument to Francesco Sforza which was never erected. The Cheval Turc triumphantly presents Barye's supreme grasp of anatomy and drama and as the author of the 1844 Besse catalogue wrote "...the only feeling that one can experience upon seeing it is a deep admiration both for one of nature's most noble creatures and the talent of its delineator."

The first edition of the pendant Cheval Turc appeared around 1840. Barye produced casts with the stamp BARYE in his own atelier and under his personal supervision between 1832 and 1843 with a few casts with the stamp appearing later, up until 1857. The number 3, seen on the present bronze, indicates the third cast of an edition. Barye explained his numbering system in a letter to a collector in 1859: 'The number 27, on the Lion au serpent that you have acquired, is a number referring to order, that is, the 27^th cast of the model.'

The crisp quality of the casting is testament to this special period of Barye's own production of his models.

RELATED LITERATURE
Benge, pp.1, 93, fig. 82; Poletti & Richarme (2000) no. A127, pp. 263 & 39-40; Pivar, no. A150; Untamed, pp. 2-15, 158-159, cat. 57