Sold

The BADA Standard

  • Since 1918, BADA has been the leading association for the antiques and fine art trade
  • Members are elected for their knowledge, integrity and quality of stock
  • Our clients are protected by BADA’s code of conduct
  • Our dealers’ membership is reviewed and renewed annually
  • Bada.org is a non-profit site: clients deal directly with members and they pay no hidden fees
Click here for more information on the BADA Standard

An excellent late 19th Century French Animalier bronze study of a proud standing cockerel with fabulous hand chased surface detail & fine rich green patina, signed A BARYE FILS.

ADDITIONAL INFORMATION

Height: 22 cm.

Condition: Excellent Original Condition.

Circa: 1870.

Materials: Bronze.

Book Ref: Animals in Bronze by Christopher Payne.

SKU: 8400.

ABOUT
Alfred Barye

Alfred Barye “Le Fils” or Alf Barye (Paris, France, 21 January 1839 – Paris, France, 1882) was a French sculptor, of the Belle Époque, pupil of his father the artist Antoine-Louis Barye. In cooperation with Émile-Coriolan Guillemin, Barye did the artwork for “The Arab Warrior Knight on Horseback”. Included in Barye’s oeuvre were animalier bronzes as well as Oriental subjects. At his father’s request, he signed his work as “fils” to differentiate his work from his father’s.
He specialised in the animalier school in the production of bronze sculptures. Although a fine artist in his own right, he struggled to create his own identity living in the shadow of his more famous father. The vast majority of his pieces are signed “A. Barye, fils” while some are marked “Barye” or “A. Barye” which created some confusion – intentional or not – with those of his father. The majority of the sculptures leaving the Barye foundry were sand castings rather than lost-wax castings. Alfred typically used mid-brown patinas but would sometimes add green (a colour famously used by his father) and auburn-coloured hues in the patination process. Any Barye bronze – by father or son – will generally have an exquisite patina. Antoine-Louis was particularly finicky with his patinas and would not allow other foundries to apply them, preferring to do it himself for appearance and quality control purposes. Alfred, too, would not let a sculpture leave his workshop without a perfectly applied and visually pleasing patina.





Stock number

8400
Open by appointment and at fairs

The BADA Standard

  • Since 1918, BADA has been the leading association for the antiques and fine art trade
  • Members are elected for their knowledge, integrity and quality of stock
  • Our clients are protected by BADA’s code of conduct
  • Our dealers’ membership is reviewed and renewed annually
  • Bada.org is a non-profit site: clients deal directly with members and they pay no hidden fees
Click here for more information on the BADA Standard