ANTOINE-LOUIS BARYE
French, 1796-1875
"Charles VII, The Victorious"
Sand-cast
dark-brown over medium-brown patinated bronze | signed "BARYE",
cold-stamped underside "43" "00" and punched initials "ch"
Item # 403GPP07S
An exceedingly rare and most fine model of Antoine-Louis Barye's Charles VII, The Victorious,
the sculpture is characterized by an unusual delicacy and attention to
the smallest details. It depicts the French king slightly removed from
the realm of this world and the air of a fairy-tale is present in the
depiction; the strikingly youthful form atop his mount while outfitted
in his full armor, his head crowned in the laurel wreath that nods in
the motif towards victory and glory. The pony is regal with a mane
pulled in long well-kempt strands that disappear beneath the straps.
Notably the pony is not armored, but rather is posed in parade
trappings, the image perhaps depicting Charles VII (French, 1403-1461)
at his coronation at Reims Cathedral in 1429.
It is interesting
how Barye deviated from traditional equestrian portrayals in this model.
Emphasizing the king's youth, he depicts Charles VII in what initially
appears to be larger than natural proportions compared to his ride; but
Barye chose to portray him on a pony rather than a horse.
After
the death of his two older brothres, Charles VII became Dauphin at
fourteen and in 1422 he became King Charles VII of a split France,
recognized only south of the Loire River. Joan of Arc met him in 1429,
coming to his summer residence in Chinon to convince him to be coronated
in Reims, a territory where he was not recognized as king. His
coronation would be the last major event of the 100 Years War.
His
reign was marked by his battles against the English with the aid of
Joan of Arc, his restructuring of the French army, the expansion of
commerce and the heavy taxation of the populace. Barye's decision to
depict Charles VII as a handsome young man, rather than being rather
plain and somewhat unattractive features as he is historically
documented might indicate some artistic license and perhaps even
idealization of the subject.
Barye's inspiration might have been drawn from ancient works like the marble bas-relief Calvary Riders in
the Parthenon Frieze or the Equestrian Statue of Marcus Aurelius on the
Capitoline Hill of Rome, which he studied in depth. One of Barye's
sketches of Robert Malatesta, Duke of Rimini, from the Louvre, show his
very clear integration of aspects of the Duke's posture and armor into
Charles VII's representation - this sketch remains in the collection of
the Walters. Other elements, like the laurel crown, possibly trace back
to other historical sculptures, such as Lemot's Henry IV Equestrian. The
design Barye employed in the narrow straps that resemble suspenders
converging in a single cluster of studs on the hindquarters is well
documented in his drawings of Horse Trappings held in the permanent
collection of the Louvre.
A rather early work in Barye's ouevre,
the earliest iteration known is the proof executed in bronze by Honoré
Gonon in the lost-wax method with a gilded patina that was applied by
Barye himself with a date on it of 1836 that was presented to the Consul
of Great Britain in 1865. It is possible that early workings for this
model were presented at the 1833 Salon as no. 5237 under a different
title, but to date this has not been confirmed.
The modeling
reflects a Romantic fascination with legendary and historical figures,
and in creating this sculpture Barye engaged with traditions from both
antiquity and Renaissance bronzes. His careful detailing includes the
horse's mane and trappings, the sword, the perfect articulation of the
details of his armor and chain-mail and the saddle. Unlike many of
Barye's equestrian works, which were destined for monumental statues
before being reduced for sale to collectors, this model was always
intended to be only a small sculpture and was offered in only one size.
The
sculpture underwent several iterations, with the final version dating
around 1840, each showing slight modifications in the horse's mane, the
harness, and the base's dimensions. The earliest version is of the king
without his laurel crown and a more heavy baton.
Interestingly
and quite unlike Barye's other models, it is likely that more casts of
this model are épreuves from Barye's lifetime than posthumous casts, for
after 1880 the popular interest in Romantic statues of this type,
particularly of the figure Charles VII under the Third Republic, had
dwindled so entirely that it almost entirely ceased to be cast. Many
Barbedienne casts show part gilding on the edges and highlights.
As
is the case with many posthumous casts of Barye's work, the weight and
dimension of the model were enlarged slightly by some of the foundries
that cast it. Poletti & Richarme question whether this might be to
overcome critics of Barye's models referring to them simply as
"paperweights".
The present cast is exceedingly light in
composition and execution with a delicate and well-preserved patina.
This presents as a dark and nearly black patina applied over a
medium-brown cognac hue patina, the upper layer relieved to show the
nuance of the underlying brighter tones both through time/gentle
handling and intentionally by the foundry. The texture and details are
exquisitely represented and are largely the result of capture directly
from the mold with little cold-tooling evident. The signature for BARYE
is gingerly raised around the edges. Note Charles VII is missing his
baton.
While there is no foundry mark and the model shows every
indication of being a lifetime cast, the use of cylindrical slotted
bolts is typical on many Barbedienne casts we see from the 1880s and
despite not being marked by Barbedienne may suggest their involvement
either during Barye's lifetime or shortly thereafter in casting this
example.
Market results:
Artist Listings & Bibliography:
Measurements: 11 3/4" H x 3" D (base) x 9 1/4" W (base)
Condition Report:
Missing
the baton for his raised arm. Trace wear to what appears to be an
original patina throughout, including rubbed wear to the raised elements
to reveal the more autumnal hue of bronze. Exceedingly beautiful. Ready
to place.