Antoine-Louis Barye

The collection of Hector Brame;
Thence by descent

Overall the condition of the bronze is very good with minor wear and dirt to the gilded surface consistent with age. There are some minor chips to the marble 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."

Tiger Devouring a Gavial launched Barye's career when the original plaster was exhibited at the Salon of 1831. The critic Etienne-Jean Delecluze described the work as 'the strongest and most significant work of the entire Salon', while Theophile Gautier commented, 'what energy, what ferocity, what a thrill of satisfied lust for killing shows in the flattened ears, the savage gleaming eyes, the curved nervous back, the clutching paws, the rocking haunches, and the writhing tail of the tiger, and how the poor scaly monster doubles in agony under those cutting teeth and jaws'.

The model was edited posthumously by Hector Brame and this exceptional and rare gilt cast was preserved in Brame's own private collection.

RELATED LITERATURE
M. Poletti & A. Richarme, Barye: Catalogue raisonné des sculptures, Paris, 2000, no. A 74 (2), p. 173