Antoine-Louis Barye

Overall the condition of the bronze is very good with some minor wear to the patina consistent with age. There are a few slightly visible casting joints, for example at the two front paws and the tail.
"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."

Lion au serpent was initially exhibited in its plaster version at the Paris Salon of 1833, and is now considered one of Barye's most recognized and popular images. The sculpture received great public acclaim, and as a result Barye was named Chevalier of the Legion d'honneur. For the Salon of 1836, the work was cast in bronze for Louis-Phillipe, the Orleans monarch, who avidly supported Barye's artistic enterprise.

In addition to its stark realism and unrefined style, Lion au serpent can be understood allegorically, as a commemoration of the July revolution of 1830, which catapulted Louis-Phillip to the throne. The strong, courageous lion triumphs over the evil serpent, and exemplifies Barye's passion for the animal. One Salon review purported, 'what force and naturalism in the pose, how the line descending from the head to the tail is curved with grace and facility. The expression shows at the same time anger and fear. He has placed his paw, claws spread, on the snake, and we expect to see him react to the slightest movement of the reptile.'

RELATED LITERATURE
M. Poletti and A. Richarme, Barye. Catalogue raisonné des sculptures, Paris, 2000, p.175-6, no. A52