A MAGNIFICENT PAIR OF BRONZE STAGS
A MAGNIFICENT PAIR OF BRONZE STAGS
The bases stamped MDCCCXXXVII (1837) MONNAY & CROZATIER
and one numbered XXII (22) the other XXIII (23)
The largest: 173cm.; 68ins high by 130cm.; 51ins long. (NOT including bases)
Born of poor parents in 1795, Charles Crozatier's family moved to Aiguihe where he was raised before studying at the Ecole des Beaux-Arts in Paris in the studio of Pierre Cartellier. He lived in Italy where he studied the casting techniques of the Renaissance sculptors. Although he was known as
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The bases stamped MDCCCXXXVII (1837) MONNAY & CROZATIER
and one numbered XXII (22) the other XXIII (23)
The largest: 173cm.; 68ins high by 130cm.; 51ins long. (NOT including bases)
Born of poor parents in 1795, Charles Crozatier's family moved to Aiguihe where he was raised before studying at the Ecole des Beaux-Arts in Paris in the studio of Pierre Cartellier. He lived in Italy where he studied the casting techniques of the Renaissance sculptors. Although he was known as
a sculptor, his work as a founder won him many commissions. The Puy museum has a number of works sculpted by him including Henri IV as a child and his Prometheus Bound is in the Bayonne museum.
Crozatier was also responsible for the equestrian statue of Louis XIV, originally sculpted by Pierre Cartellier and cast by Crozatier in 1829, which was only recently re-installed in the courtyard at Versailles. Close examination of the horse show the same construction and cast moulds as used on these stags,
This pair of stags with their accomplished and naturalistic modeling, are particularly early in the development of animalier sculpture in the 19th century. The leading exponent of this new school of sculpture, Antoine Louis Barye, who through exhaustive studies of living and dead animals in the Paris Zoo produced the first animalier sculptures which were anatomically correct as well as showing realistic movement. In 1831 his Tiger devouring a Gavail, was shown at the Salon and bought for the Luxembourg Gardens, however many of his works were considered too realistic and violent in their portrayal of animals in the wild by a public used to a more stylized approach. These stags, dated 1837, predate many of Barye's own interpretations of the deer family, of which the Cerf Biche et Faon, first shown in 1845 depicting a stag with a seated doe is perhaps the closest in treatment
These examples are two of a series of deer cast by Crozatier. Taken with their beauty and elegance a similar pair were reputedly kept by Charles Crozatier for his private collection.
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Dimensions
 MONNAY & CROZATIERand one numbered XXII (22) the other XXIII (23) The largest: 173cm.; 68ins high by 130cm.; 51ins long. (NOT including bases)Born of poor parents in 1795, Charles Crozatier's family moved to Aiguihe where he was raised before studying at the Ecole des Beaux-Arts in Paris in the studio of Pierre Cartellier. He lived in Italy where he studied the casting techniques of the Renaissance sculptors. Although he was known as a sculptor, his work as a founder won him many commissions. The Puy museum has a number of works sculpted by him including Henri IV as a child and his Prometheus Bound is in the Bayonne museum.Crozatier was also responsible for the equestrian statue of Louis XIV, originally sculpted by Pierre Cartellier and cast by Crozatier in 1829, which was only recently re-installed in the courtyard at Versailles. Close examination of the horse show the same construction and cast moulds as used on these stags,This pair of stags with their accomplished and naturalistic modeling, are particularly early in the development of animalier sculpture in the 19th century. The leading exponent of this new school of sculpture, Antoine Louis Barye, who through exhaustive studies of living and dead animals in the Paris Zoo produced the first animalier sculptures which were anatomically correct as well as showing realistic movement. In 1831 his Tiger devouring a Gavail, was shown at the Salon and bought for the Luxembourg Gardens, however many of his works were considered too realistic and violent in their portrayal of animals in the wild by a public used to a more stylized approach. These stags, dated 1837, predate many of Barye's own interpretations of the deer family, of which the Cerf Biche et Faon, first shown in 1845 depicting a stag with a seated doe is perhaps the closest in treatment These examples are two of a series of deer cast by Crozatier. Taken with their beauty and elegance a similar pair were reputedly kept by Charles Crozatier for his private collection.){kind=link}