Jean-Louis-Ernest Meissonier

the base with a metal plaque inscribed: CE BRONZE PROVENANT DE L'ATELIER DE MEISSONNIER (sic) ETAIT CONSERVE PAR MARC SANGNIER DANS SON BUREAU DU SILLON \ A EMILIEN AMAURY EM SOUVENIR DE LEUR PÈRE \ Madeleine et Jean Sangnier

Jean-Louis-Ernest Meissonier, atelier at the Grande Maison, Poissy
Marc Sangnier, office of the Le Sillon movement, Paris, until circa 1950
by descent to Jean and Madeleine Sangnier, Paris
by whom gifted to Emilien Amaury, Chantilly, before 1977

Overall the condition of the bronze is good, with minor dirt and wear to the surface consistent with age. There may be two small losses to the reins above the horse's mouth. The proper right stirrup is slightly loose. There is a slightly visible casting joint to the top of the trumpet where it meets the mouth. There is particular dirt to some of the crevices. There are a few small chips to the edges of the base.
"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."

Jean-Louis-Ernest Meissonier achieved exceptional fame and distinction for his meticulously detailed military and genre paintings; regarded particularly highly among these is his series of works depicting the Napoleonic Wars.

It is not known when Meissonier first turned his creative attentions to sculpture, but, judging by the existing few works that are modelled by his hand, it seems that he used sculpting as a means of preparing for and focussing his paintings. Direct links between his canvases and sculptures attest to the significance he placed on the interplay between the two. The success of an exhibition of some of his waxes and a limited number of bronze casts persuaded his family to agree to the distinguished foundry Siot-Deceauville reproducing further casts of his models, helping to establish Meissonier’s reputation as a talented sculptor as well as painter.

The present bronze, inscribed as being from the artist’s own workshop, represents a herald leaning back to sound his trumpet; a subject that the Socialist journalist who owned the bronze later, would have identified with. The sense of vitality created by the off-balance position of the horse’s right hind leg and its angled tail and mane, enhances the drama of the occasion. Another bronze version of the present sculpture is held in the Musée des Beaux-Arts in Dijon, while Meissonier’s preparatory drawings of the same group can be found in the B.N.F. in Paris.

RELATED LITERATURE
P. Fusco and H.W. Janson (eds.), The Romantics to Rodin. French nineteenth-century sculpture from North American collections, exh. cat. County Museum of Art, Los Angeles, Institute of Arts, Minneapolis, Institute of Arts, Detroit, Museum of Art, Indianapolis, 1980, pp. 300-301