Antoine-Louis Barye

Roger Godchaux (1878-1958), Paris, France

Overall the condition of the bronze is very good with minor dirt and wear to the surface consistent with age. There are a few minor lacunae in the bronze from the casting process, including down Theseus' proper left thigh. The patina has rubbed a little in areas, revealing the golden undertones, including at Theseus' elbows. There are a few minor scratches including to the terrasse. There is a wood inset to the underside with minor wear.
"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."

This is one of the finest casts of Barye's Thesée et le Minotaure to have been at auction. The BARYE 4 stamp signifies that it is a rare lifetime cast. It was likely produced whilst Barye was in association with Emile Martin between 1845 and 1857. Another cast, with a very similar patina and also stamped BARYE 4 is in the Victoria and Albert Museum, London; acquired from Martin on 31 August 1855 (inv. no. 2708-1856).

Barye based the figure of Theseus on a drawing by Henry Fuseli of an executioner which was taken in turn from a fresco of the Beheading of John the Baptist by Andrea del Sarto in the Monastero dello Scalzo, Florence. Further inspiration comes from a sheet of drawings of boxers by Géricault. The strictly archaic Greek Theseus, his hair stylised and linear and legs planted firmly apart, makes a composed combatant for the more romantically conceived minotaur. The contrast subtly underlines the triumph of good over evil. Ballu considered the model 'one of Barye's most masterful works and certainly one of the masterpieces of French sculpture'.

The present bronze was part of the collection of Roger Godchaux, himself a sculptor affiliated with a late generation of animalier artists who followed in the footsteps of the great Romantic exponents of the genre, among whom Barye would have been held in the highest esteem. A student of Gerome, Godchaux's debuted in the Salon of 1905, specialising in more impressionistic interpretations of animalier sculpture of the 19th century. His admiration for Barye was obvious and self-conscious, and is particularly evident in his elephant sculptures, which were amongst his most popular subjects.

RELATED LITERATURE
R. Ballu, L'Oeuvre de Barye, Paris, 1890, p.91; G. Benge, Antoine-Louis Barye, Sculptor of Romantic Realism, Pennsylvania, 1984, pp.116-118; M. Poletti and A. Richarme, Barye: Catalogue raisonné des sculptures, Paris, 2000, no. F31, pp.106-107