Antonin Mercie French Bronze Sculpture of David Vainqueur, Barbedienne

Price:$3,496.42

$3,865List Price

About the Item

Also known as "David with the Head of Goliath", this very fine sculpture not only won a first class medal but also resulted in Mercie being honored with the Cross of the Legion of Honor, the only artist ever to receive this distinction while still a student at the French Academy in Rome. Documented extensively, this is one of his most famous and most treasured works and was cast by Barbedienne in six different sizes, five of which are offered in their 1886 catalog - 110, 92, 73, 46 and 29.5 cm. The present example is referred to in their catalog as "La Reduction no. 4" with a noted height of 46cm and base length of 11cm. The original sculpture, cast in life size for the 1872 Salon at a height of 185cm (72.5") is held by Musee d'Orsay in Paris; other examples held by museum include a 69 cm example at Montpellier and a 70 cm example at Troyes. Exceedingly attractive, the sculpture exhibits a realism of a nearly photographic dimension. The young David is portrayed scantily clad only in a simple loincloth, lifting the vast sword of Goliath into it's oversized sheath as he has just parted the head from it's body, his foot still disrespectfully perched in Goliath's eye. The form exudes a certain carefree and relaxed demeanor, not exemplifying a warrior who has just defeated a man two or three times his size, but rather a cool air of confidence having done a significant deed. Goliath's head is breached just above his right eye where the stone of David's sling struck him. David's handsome and clean appearance is a stark contrast to the course and unkempt appearance of his fallen foe. The sculpture patination is particularly beautiful, being a very well preserved reddish-brown with traces of black preserved under what appears to be wax. The sculpture is marked "Reduction Mechanique Collas Brevete", having been reduced in size from the 185cm original using the method of inventor Achille Collas; along the rim “332 F. Barbedienne, Fondeur Paris" is engraved and the front of the circular base reads "David" in Hebrew. The chased and filed finish work is exceptional, as is the case with most work from the F. Barbedienne foundry. At just twenty-three, as a student both of Jouffroy and Falguiere at the Ecole des Beaux-Arts, Mercie won the Prix de Rom in 1868 with his Thesee Vainqueur du Minotaure. He remained in Rome from 1869-1873, creating both of his most famous works: David Vainqueur and Gloria Victis!; at 27 he won medal of first class with David Vainqueur, after which he began a long career of important commissions, including the funeral monuments of Louis-Philippe and Marie Amelie at the Dreux in 1886. By age thirty he was a famous sculptor and continued enjoying great success in his work, ultimately being named president of the Societe des Artistes Francais in 1913 only a few years before his death. Literature: Bronzes: Sculptors and Founders vol I, Berman, p. 157 159 The Bronzes of the 19th Century: Dictionary of Sculptors, Kjellberg, p. 488-91 Bronzes d'Art F. Barbedienne, Paris (1886 edition), p. 48 Art Bronzes, Forrest, p. 44-46, p. 479 Measurements: 18” high; base diameter 4 3/8” Condition Report: Excellent condition with very minor patina wear in form of tiny scratches and discolorations. No noteworthy flaws. Patina in fine preserved condition under wax. Please review all images for a full overview of condition.

Creator:
Antonin Mercie (Sculptor),F. Barbedienne Foundry (Manufacturer)
Dimensions:
Height: 18 in (45.72 cm)Diameter: 4.38 in (11.13 cm)
Style:
Art Nouveau (Of the Period)
Materials and Techniques:
Bronze,Patinated
Place of Origin:
France
Period:
Late 19th Century
Date of Manufacture:
circa Late 19th Century
Condition:
Wear consistent with age and use.
Seller Location:
Shippensburg, PA
Reference Number:
Seller: 512XIP07Q1stDibs: LU105903778752

Shop All F. Barbedienne Foundry

F. Barbedienne Foundry

Founded by one-time Parisian wallpaper dealer Ferdinand Barbedienne and engineer Achille Collas, one of the most revered foundries in 19th-century France began with the invention of a revolutionary 1830s-era device that could produce proportional reproductions — large or small — of sculptures. Collas’s machine, which yielded miniature likenesses of antiquities for the interiors of homes the world over, was pivotal to the success of the F. Barbedienne Foundry. The successful firm earned prestigious awards and critical acclaim and created exquisite bronze candleholders, clocks and lamps for a range of wealthy and prominent clients.

The duo first launched their company under the name Société Collas et Barbedienne, and early on, they optimized chemical processes for pigmenting and patinating their bronze statuettes. After Collas died in 1859, Barbedienne forged on alone, and the company’s name changed to simply F. Barbedienne.

Barbedienne employed more than 300 workers at that point, and the Maison created a range of furnishings and decorative objects that featured the integration of marble and ormolu accents. However, with the onset of the Franco-Prussian War of 1870, the foundry was forced to retrofit its molds, and the production of cannons replaced sculptures, furniture and vases.

When Ferdinand Barbedienne passed away in 1891, his nephew and heir, Gustave Leblanc, took over as president, changing the name to Leblanc-Barbedienne. Leblanc expanded production into Germany, the United Kingdom and the United States, carrying on the company's legacy with monumental sculptures, and models and securing production rights for famous statues. Paul-Alexandre Dumas, an Art Nouveau maker and student of Louis Majorelle, succeeded Leblanc until the company's closing in 1952.

Barbedienne pieces had been exhibited regularly in the 19th century and were especially prevalent at Europe’s international expositions and world’s fairs, where they received numerous awards. Today, the Musée d’Orsay in Paris holds dozens of Barbedienne works in its collection, including intricate mirrors, vases and cups created by Louis-Constant Sévin at the foundry. For more than two decades, Sévin created lamps, boxes and more at Maison Barbedienne. Working alongside award-winning chaser Désiré Attarge, Sévin designed Napoleon III-era works that greatly appealed to European nobility.

Other notable artists who collaborated with Barbedienne included Eugene Aizelin, Emmanuel Fremiet, Antonin Mercié, Emile Guillemin, Edouard Lievre, Ferdinand Levillain and Auguste Rodin.

On 1stDibs, find a collection of Barbedienne decorative objects, lighting and collectibles.

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This exceptional cast bronze sculpture, inspired by the celebrated work of French artist Antonin Mercié, depicts the iconic biblical moment of David triumphing over Goliath. Rendered...

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Located in New York, NY

An Incredible and Large Gilt and Patinated Bronze Group of Gloria Victis, a Winged Figure of Victory with a Fallen Warrior. This incredible bronze piece was cast after a model by Maarius-Jean-Antonin Mercié, This model is signed 'F. BARBEDIENNE FONDEUR PARIS' demonstrating that it was cast by Ferdinand Barbedienne's foundry, the best bronzier of the 19th century. The base is further signed 'A. Mercie' and stamped 'Réduction Mécanique' with an inscription of '659'. The figure is mounted on a Belgian noir marble base with various stepped edges. Gloria Victis is one the most well-known and important bronze casts of the 19th Century. The quality of this particular model is absolutely incredible and all the marking indicate that this particular piece is one of the finest produced by the Foundry. A student of Jouffroy and de Falguière at the Ecole des Beaux-Arts, Marius-Jean-Antonin Mercié (1845-1916) won the Grand Prix de Rome at 23 years old with his work Thésée vainqueur du Minotaure. In 1872, he sent the plaster model of his work David vainqueur to the Salon, for which he won the first class medal. At the same time, he received La croix de la Légion d'honneur at the Villa Medici. His return to Paris, in 1874, issued in a long and brilliant career with numerous commissions, notably the monuments for Louis-Philippe and Queen Marie-Amélie for the Royal Chapel at Dreux (1886). By the age of 30 Mercié was already very well-known and his Gloria Victis received resounding success when it was exhibited at the Salon, in 1874 (in plaster) and in 1875 (in bronze). This work exalted the heroism and the patriotic sentiments aroused by the disasters of 1870. His predilection for patriotic subjects is shown in many of his works such as Quand même...

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