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Copper Alloys Used in Barye's Hunt Scenes in the Surtout de Table of the Duc d'Orleans

  • Jennifer Giaccai (a1), Julie Lauffenburger (a2) and Ann Boulton (a3)

Abstract

The copper alloys of the statues by Antoine-Louis Barye were examined with energy-dispersive x-ray fluorescence. Barye experimented with casting techniques in his own workshop and regularly worked with the foundry of Honoré Gonon, who re-introduced lost wax casting to 19th century Paris. Two of the technically complex Barye sculptures in the surtout de table of the Duc d'Orleans were difficult to cast using the more common sand casting technique. Problems with the sand casts sent to other foundries resulted in Gonon completing the casting for problematic statues in the surtout, after Gonon had completed lost wax casting of the three hunt scenes initially sent to his foundry. Examination of the copper alloy compositions differentiates the casts from the various foundries and determines which parts of the surtout were ultimately cast by Gonon.

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References

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1. Lemaistre, Isabelle Leroy-Jay, “The Surtout de Table of the Duc d'Orléans”, in Untamed: The Art of Antoine-Louis Barye, edited by Johnston, William R. and Kelly, Simon (Walters Art Museum, Baltimore, 2006), p. 26.
2. Lebon, Elisabeth, Dictionnaire des Fondeurs de Bronze d'Art: France, 1890-1950. (Marjon, Perth, Australia, 2003), p. 168.
3. Lemaistre, Isabelle Leroy-Jay, “La Chasse à l'Ours”, in Un âge d'or des arts décoratifs 1814-1848, edited by Alcouffe, D., Dion-Tenebaum, A., and Ennes, P. (Galeries Nationales du Grand Palais, Paris, 1991), p. 323.
4. Lemaistre, Isabelle Leroy-Jay, “La Chasse à l'Élan”, in Un âge d'or des arts décoratifs 1814-1848, edited by Alcouffe, D., Dion-Tenebaum, A., and Ennes, P. (Galeries Nationales du Grand Palais, Paris, 1991), p. 324.

Keywords

Copper Alloys Used in Barye's Hunt Scenes in the Surtout de Table of the Duc d'Orleans

  • Jennifer Giaccai (a1), Julie Lauffenburger (a2) and Ann Boulton (a3)

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