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ANTOINE BARYE KNIGHT SLAYING DRAGON BRONZE STATUE FIGUR
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Description
This item selling in Upscale Art
Galleries and Museum galleries for up to $4000.00
- $5500.00 when it can be found. This is a sophisticated Piece,
perfect for any art
lovers home, office, or place of business. Don't miss your opportunity to own this wonderful
and rare piece, Buy it Now! Bid with confidence.
Think
Bronze, takes pride in our superb collection of museum quality
Bronze Statues, handpicked from the finest artistry using old world
standards around the globe. The attentions to the intricate details
of
these luxurious works of art are amazing and the brilliance of the
figures unsurpassed.
From
art Nuevo to art deco, wildlife nature to equestrian, classical to
contemporary, religious to renascence or nude, you will find a remarkable
assortment of diverse Art forms and sizes, coupled with undeniable
values makes Think Bronze a fantasy playground for art collector and lover in you.
This intense piece by French artisan, Antoine-Louis Barye, features a knight in
the midst of slaying a dragon. The knight is fully adorned in his armor complete
with his helmet and cape that flows behind him. He sits atop a large horse that
stands on its hind legs, towering over the dragon. The dragon lays on its back
while his wings flare out from underneath him; his mouth is mouth open and his
tongue is hanging out in an effort to display his disdain for the horse and the
knight. However, the dragon is in a position of complete surrender as the knight
takes advantage of this and raises his sword prepared to strike. Simply
marvelous. To add to the thrill of this piece, it features a decorative pattern
around the base that is absolutely breath-taking. This piece is a must-have that
will surely be treasured for years to come, featuring the lost wax method of
casting, founded thousands of years ago ensuring an exquisitely detailed
sculpture that will add grace and beauty to your business or home.Signed "Barye"
in the base. Get one for the knight in shining armor in your life!
About
the Artist: Antoine-Louis Barye (September 24, 1796-June 25, 1875) was a French
sculptor most famous for his work as an animalier, a sculptor of animals. Born
in Paris, Barye began his career as a goldsmith, like many sculptors of the
Romantic Period. After studying under sculptor Francois-Joseph Bosio and painter
Baron Antoine-Jean Gros he was in 1818 admitted to the école des Beaux Arts. But
it was not until 1823, while working for Fauconnier, the goldsmith, that he
discovered his true predilection from watching the animals in the Jardin des
Plantes, making vigorous studies of them in pencil drawings comparable to those
of Delacroix, then modelling them in sculpture on a large or small scale. The
mass of admirable work left by Barye entitles him to be regarded as one of the
great animal life artists of the French school, and the refiner of a class of
art which has attracted such men as Emmanuel Frémiet, Peter, Cain, and Gardet.
Condition: This sculpture is in a very good condition.
Bronze Dimensions with Marble Base:Height 20 1/2" x Width 16 1/2"
Marble Dimensions: 12 1/2" X 8".
Height without base: 19 1/2"
Weight : 38 LBS
Inventory:45170M26554
The Art of Lost Wax
Lost wax casting has been around for thousands of years, yet few people understand how the process actually works.
Although mechanization has facilitated the lost wax process of bronze casting, the procedure is basically the same as that used by the Chinese when they first developed the process in the 2nd millennium BC.
The Rubber Mold
First the artist creates an original sculpture out of any number of media, including stone, wax, clay, wood and pottery.
This image is coated with a silicone rubber molding material that makes two rubber mold halves (each rubber mold has a front and a back piece). A fiberglass outer shell is added to the back of each mold so it retains its shape and rigidity during subsequent uses.
These molds are the only components that are ever re-used in the casting process. All other components are re-created for each casting.
The Wax Positive
Once the molds are done, the insides are coated with layers of wax. The halves are then bound together and wax poured inside to complete the wax image being created.
Once the wax has cooled, the mold is peeled away, yielding a wax image (the wax positive") duplicating the original sculpture.
This image must then be "touched -up" to remove any seam lines, scratches or other flaws, as well as to recreate any pattern or texturing that was lost or damaged when the wax was made.
The quality of the finished bronze relies on a clean, high quality mold and an impeccably recreated wax image that is as near to perfect as possible.
Gating
The next step, "gating", is the application of a series of tubes and funnels that allow the molten bronze to flow through to the bottom of the ceramic shell and the hot gases to escape at the same time.
These sprus are created by attaching wax rods to the finished wax form at strategically spaced locations.
Ceramic Shell Casting
After the gating is completed each wax form is dipped in a liquid ceramic silica-sand compound so it is completely coated inside and out. Holes called "patches" have been cut into the wax to allow an entrance to the inside of the form.
The form is subsequently dipped 6 to 12 or more times over a period of several days until the desired shell thickness is achieved.
Lost Wax
Once these ceramic shells have dried thoroughly the pieces are placed into an autoclave and the wax is melted out (hence the term "lost wax"), to be reclaimed and used again. The shells are then cured in a kiln so they will withstand the temperature of the molten bronze being poured into them.
The Pour
Bronze ingots are melted to a temperature of approximately 2000°F and poured into the cured ceramic shells.
As the sculpture cools the ceramic shell begins to pop away from the bronze.
This shell will be completely broken away, using a hammer and chisel, before the superfluous metal materials are cut away.
Sandblasting
The casting is then sandblasted in preparation for metal finishing.
Any pieces of a sculpture that were cast separately are welded back onto the sculpture and any seam lines or other imperfections are removed or "chased".
Texturing
Finally, any texturing that was lost or damaged in the casting or welding process is recreated.
The sculpture is then polished in preparation for application of the patina.
Patinas
The different colored finishes that are possible on cast bronze sculptures are called patina's.
The various colors, patterns and textures obtained in the patina process are achieved through a combined application of chemicals and heat, augmented by hand stippling, or spraying with an air brush, and sealed with lacquer and waxes.
Limited Editions
Most bronzes are part of a "limited edition" containing a fixed number of castings.
This edition number is decided by the artist, usually after the first piece has been cast, and individually stamped on each piece (i.e. 1/100) thus concluding the process of bronze sculpture production.
Our Return Policy
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If that rare occasion arises where you feel you must return an item, please contact us at Return@thinkbronze.com for return instructions within Fifteen (15) days (by phone or email) of receipt of your item(s). Upon our receipt and inspection of the returned item(s), we will issue a refund for your item(s) if returned in the same condition as sent to you, excluding any shipping/insurance costs for which you were responsible. Buyer is responsible for return shipping/insurance costs, which will not be reimbursed for any reason. Returned merchandise must be received by us within seven (7) days of the date from which you contact us regarding the return.
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