- 70
Antoine-Louis Barye French, 1796 - 1875
Estimate
8,000 - 12,000 USD
bidding is closed
Description
- Antoine-Louis Barye
- Cheval Turc No2 (antérieur gauche levé, terrasse carrée)
- signed BARYE, inscribed F. BARBEDIENNE Fondeur, black stencil number 8440 and incised number 43 and No 2
- bronze, dark brown patina
- height 7 1/2 in.
- 17 cm
Literature
M. Poletti and A. Richarme, Barye. Catalogue raisonné des sculptures, Paris, 2000, no. A128, pp. 265-66
Condition
Patina with some rubbing to high points due to cleaning and wear, most notably to the back of the horse. Light surface scratches.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
The Cheval Turc is generally regarded as the model which most powerfully epitomes Barye's unique sculptural vision. Infused as it is with the Romantic spirit of his 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."