Lion and Gazelle. Barthelemy Prieur (Berzieux, c. 1536–1611), Workshop. 17th century. Bronze with reddish patina over traces of black patina.

12 x 25.5 x 10 cm

Related work of alloy tests carried out at the laboratories of the University of Physics of Milan and certificate of free circulation.

This very rare casting is now attributed to Henry IV's court sculptor, Barthelemy Prieur.

Known for the monumental works he created for the French court, the small, enchanting bronze castings that came out of his workshop, which lasted into the first decades of the 17th century, are equally appreciated.

The best-known fusions are those featuring naked women "pulling" thorns from their feet or combing their hair or drying themselves... with a slightly voyeuristic streak.

This rare subject presented here was originally attributed to Giambologna, but is now commonly included in the production of Barthelemy Prieur.

Very few replicas are known that are significantly larger than ours and that present slight variations.

We recall the versions from the Robert H. Smith Collection and the Thyssen Bornemisza, both around 16 cm high, 34 cm long and coming from the same sketch model.

Our version is significantly smaller (about 10 cm shorter) and appears to come from a different model, with slight differences. It has no assembly marks under the legs.

It's well known that replicas following a fusion shrink only slightly. In our case, comparing measurements, to reduce by almost 10 cm, we would have to have many copies of the subject that don't actually exist.

Our casting presents itself with the typical material characteristics and patinas of an ancient casting, contemporary with the master's foundry.

A rare and fascinating sculpture, for scholars and collectors interested in developing its attribution.

Bibliography:
Anthony Radcliffe-Nicholas Penny, Renaissance Bronze, the Robert H.Smith Collection, Philip Wilson Publishers, London, 2014, pp.212-215.

Anthony Radcliffe-Malcolm Baker-Michael Maek-Gèrard, European Sculpture from the Thyssen-Bornemisza Collection, Electa, Milan, pp. 300-303.