Antoine-Louis Barye

Overall, the condition of the bronze is very good, with minor dirt and wear to the surface consistent with age. The bronze was cast in sections, and original joints are very slightly visible to the upper arms of all three goddesses, around the candle holder at the centre, and to the terrasse around the feet of the goddesses. The joint around Juno's feet is very slightly open, but stable. There is some rubbing to the patina, particularly at the high points, including the heads. There are some very minor nicks and scratches, including to Juno's proper right thigh and Minerva's proper left arm at the elbow. There is a very small casting fissure to Venus' nose on the proper left side. The gilt bronze base is in good condition, with some dirt and wear. There is minor tarnishing to the gilding. There is some greening to the surface, notably to the mask below Venus' feet.
"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."

Barye's Trois femmes assises formed the base of his Candelabres à neuf lumières, décorés de six figures, mascarons et chimères. These candelabra were designed to be set either side of his fantastical Angélique et Roger and together make up the garniture de chiminée commissioned by the duc de Montpensier, King Louis-Philippe's youngest son. The candelabra consisted of three main elements: three seated goddesses, a group of chimerical beasts on the stem with the whole surmounted by a group of the three graces. The critic Gustave Planche applauded the candelabra in 1851, writing: "I have no qualms about affirming that the Renaissance never conceived anything more ingenious nor more pure." Renaissance and antique sources can be cited for the various elements of the candelabra. In the present group Giambologna's Architecture inspired the figure of Minerva and the mascarons at the base of the groups may reference heads which appear on the lids Roman sarchophagi dating to the 2^nd century A.D. The decorative complexity of the full candelabra is a highly impressive tour-de-force, but, as Saunier noted, "Eventually Barye separated the three groups, and each gains by the separation, for in themselves, they are very beautiful."

At the time of Poletti and Richarme's catalogue raisonné the authors only knew of one example of the Trois femmes assises – the version in the musée de Brou in Bourg-en-Bresse. However, they noted that the model was offered in Barye's catalogues of 1857-8 as no. 12 and of 1862 as no. 14. The model was not offered at the vente Barye in 1876 and no posthumous casts were made. The model is certainly rare, with only two or three versions appearing at auction in these rooms. The last single group to appear at auction sold in these rooms on 8^th July 2005 for £48,000.

RELATED LITERATURE
C. Saunier, Masters of Modern Art: Louis Barye, London, 1926, p. 33; M. Poletti and A. Richarme, Barye: Catalogue raisonné des sculptures, Paris, 2000, pp. 101-2, no. F27; R. Johnston and S. Kelly, Untamed: The Art of Antoine-Louis Barye, exh. cat., The Walters Art Museum, Baltimore, 2006, p. 133, nos. 39a & 39b