ANTOINE-LOUIS BARYE | Thesée et le Minotaure (Theseus and the Minotaur)

Overall, the condition of the bronze is very good, with minor dirt and wear to the surface consistent with age. The bronze is cast in sections, and joints are slightly visible at both Theseus' upper arms and the Minotaur's proper left upper arm. There is an original slightly visible joint at the Minotaur's neck. There is a slight scratch to the back of the neck. There is a small area of black dirt to the top of the base. There is some rubbing to the patina at the high points. There are minor nicks and scratches to the surface, including to the edges and corners of the 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."

Ballu considered the present model 'one of Barye's most masterful works and certainly one of the masterpieces of French sculpture' (op. cit.).

The heroic struggle between man and half-beast forms an idealised image in Barye's bronze. 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. This contrast subtly underlines the triumph of good over evil. At the same time, the exaggerated musculature and contorted interaction of the figures lend homoerotic undertones to the composition. Such an interpretation of the subject finds a precedent in Antonio Canova's daring Theseus and the Minotaur now in the Victoria and Albert Museum (inv. no. A.5-1962). 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. 

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