Antoine-Louis Barye (1795-1875)
Antoine-Louis Barye (1795-1875)


Antoine-Louis Barye (1795-1875)
black chalk on tracing paper
4¼ x 8 7/8 in. (11 x 22.4 cm.)
drawn circa 1835
The artist's studio stamp (Lugt 220).
John Rewald, New York (Lugt 1514a; on the mount); sale, Sotheby's, London, 7 July 1960, lot 4.
Curtis O. Baer, New York (Lugt 3366; on the mount).
Jill Newhouse, New York.
Jan Krugier, acquired from the above.
J. Bouret, L'Ecole de Barbizon et le paysage français au XIXe siècle, Paris, 1973, no. 117 (illustrated).
E.M. Zafran, Master Drawings from Titian to Picasso: The Curtis O. Baer Collection, Atlanta, 1985, p. 192, no. 163 (illustrated).
A. Dückers, Linie, Licht und Schatten: Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie Anne Krugier-Poniatowski collection, Berlin, 1999, Catalogue raisonné, p. 395 (illustrated).
P. Rylands, The Timeless Eye: Master Drawings from the Jan and Marie Anne Krugier-Poniatowski Collection, Berlin, 1999, Catalogue raisonné, p. 395 (illustrated).
Los Angeles Municipal Art Gallery, Collection of Mr. and Mrs. John Rewald, March-April 1959, no. 3.
New York, Institute of Fine Arts, Master Drawings XVI-XX Century from the Collection of Curtis O. Baer, 1962, no. 8.
Atlanta, The High Museum of Art, Drawings from Georgia Collections, May-June 1981, no. 6.
Ornans, Musée Courbet, Les Orientalistes chez Courbet, June- October 2001, p. 84, no. 3 (illustrated in color).

Lot Essay

Best known for his large and small scale bronze sculptures of animals, Barye was also a prolific draughtsman. Unlike his bronzes which were made specifically for the commercial market, his drawings were not meant for sale or to be seen by the public. He studied animals from life and made anatomical studies after displays in the Museé d'Anatomie comparée, in Paris.

This drawing was formerly in the collection of two distinguished academics/collectors, John Rewald (1912-1994), the great Impressionist and Post-Impressionist art historian and Curtis O. Baer (1898-1976), the drawings scholar.

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