- 137
Paul Roussel French, 1867-1928
Estimate
6,000 - 8,000 GBP
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Description
- Paul Roussel
- Saint Georges terrassant le dragon (St George and the dragon)
- inscribed: À MONSIEUR LE MINISTRE DE L'INSTRVCTION PVBLIQUE ET DES BEAUX-ARTS ET À MADAME LEGVUES SOUVENIR DE LA SAINT-GEORGES A ROME. VILLA MEDICI. 1899 PAVL-ROUSSEL / G NISINI FUSE ROMA
bronze, dark brown and green patina, on wood base
Condition
Overall the condition of the bronze is excellent with some very slight wear to the patina consistent with age. There is some greening to the patina in the crevices and some restoration to the lance.
"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."
"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."
Catalogue Note
This extraordinary bronze is an impressive example of the combination of French artistry and Italian virtuoso casting. Although little is known of the sculptor his remarkable vision and talent is clearly demonstrated in this tour-de-force of inventive modelling and characterisation. Paul-Hipolyte-Réné Roussel won the Prix de Rome in 1895. He was born in Paris and studied sculpture under three masters of the age, Pierre-Jules Cavalier, Louis-Ernest Barrias and Félix Coutan. He exhibited works at the Paris Salon from the Villa Medici in both 1896 and 1898 and from 1901 to 1905 exhibited from an address in the rue Boissonade.
From the inscription it is evident that Roussel modelled his St George and the Dragon whilst at the French Academy's Villa Medici during his three year stay there. The inscription also relates the importance of the patron for whom the bronze was cast - the government's minister for the fine arts. For the casting Roussel turned to the renowned Roman foundry Nisini. The technique and style of Roman casting was distinctive, with exceptional care taken with the surface of the bronze. Like Roussel, the celebrated English sculptor Alfred Gilbert had turned to a Roman foundry, in his case Fonderia Nelli, to cast his Perseus in the early 1880s (see lot 133, Sotheby's sale 21st November, 1995). The South African sculptor Anton van Wouw, also benefitted from the skill of the Nissini foundry during this period.
Roussel's eccentric and elongated vision of the combat between the saint and the dragon is played out over an expanse of lapping waves. Roussel relates the narrative in enthralling and amusing style, with St George and his horse slipping down the rocks to charge the waves, and the Princesses screaming simultaneously with her captor whose open mouth reveals a set of impossibly long, curled teeth. The whole is highly detailed and in this the artist is ably assisted by the foundry, which has transcribed even the artist's fingerprints from the clay. With a true sense of the modelling, the small balls of clay squashed into warts on the dragon's back, the strands of the princess's hair, blown across her captors wings and the minute buckles on the hero's armour have all survived the casting process.
RELATED LITERATURE
Société des artistes français, Catalogue Illustré du Salon, Paris, 1896 no. 3810 and 1898, no. 3829
From the inscription it is evident that Roussel modelled his St George and the Dragon whilst at the French Academy's Villa Medici during his three year stay there. The inscription also relates the importance of the patron for whom the bronze was cast - the government's minister for the fine arts. For the casting Roussel turned to the renowned Roman foundry Nisini. The technique and style of Roman casting was distinctive, with exceptional care taken with the surface of the bronze. Like Roussel, the celebrated English sculptor Alfred Gilbert had turned to a Roman foundry, in his case Fonderia Nelli, to cast his Perseus in the early 1880s (see lot 133, Sotheby's sale 21st November, 1995). The South African sculptor Anton van Wouw, also benefitted from the skill of the Nissini foundry during this period.
Roussel's eccentric and elongated vision of the combat between the saint and the dragon is played out over an expanse of lapping waves. Roussel relates the narrative in enthralling and amusing style, with St George and his horse slipping down the rocks to charge the waves, and the Princesses screaming simultaneously with her captor whose open mouth reveals a set of impossibly long, curled teeth. The whole is highly detailed and in this the artist is ably assisted by the foundry, which has transcribed even the artist's fingerprints from the clay. With a true sense of the modelling, the small balls of clay squashed into warts on the dragon's back, the strands of the princess's hair, blown across her captors wings and the minute buckles on the hero's armour have all survived the casting process.
RELATED LITERATURE
Société des artistes français, Catalogue Illustré du Salon, Paris, 1896 no. 3810 and 1898, no. 3829