Lot Essay
This gallant and elegant depiction of the young Bonaparte, making his notorious entry into Cairo was the first in a series of historical equestrian figures made by Gerome during the late 1890s. Its enthusiastic reception at the Salon of 1897 and subsequent purchase by the State for the Galerie du Luxembourg, proves not only the skill of the sculptor and of the foundry, but also the renewed status of Bonaparte amongst the French bourgeoisie.
The significance of this sculptural group is underlined by the decision of the French government to purchase the original 53 centimeter high bronze for 10,000 francs -despite its standard prohibition against works made in multiples. At the time of the purchase Gérôme had already contracted with the fondeurs Siot-Decauville to produce the bronze in two sizes. It is also recorded in gilt bronze.
Gérôme also designed a pedestal on which his sculpture of Bonaparte and his horse was originally placed. The pedestal was in the form of an Egyptian temple, with three lotus-topped columns, a figure of Victory hanging from its pediment and a scribe crouched on its base. It was inscribed with the names of Bonaparte's allies in war, while the design of the pedestal compared Napoleon's power to that of the Egyptian civilization.
Gérôme began sculpting late in his life exhibiting sculpture for the first time at the age of forty-four. Nevertheless, he probably was not entirely new to the medium. As a painter, he may have executed sculptures as models. Once he began to sculpt, he certainly could have used these skills towards new ends. As in his painting, Gérôme was extremely eclectic in his sculpture. He furthermore experimented with combining materials and tinting marble. His most sucessful sculptures were his equestrian groups of Bonaparte, Washington, Frederick the Great, Caesar and Tamerlane, which were cast in small sizes as fine collectors' items. Ackerman has written of these works: "The sense of independent character is intense. The detail is crisp and appropriate, the castings are splendid. The number of casts made was limited and the prices were high." (Galerie Tanagra, op. cit.).
The significance of this sculptural group is underlined by the decision of the French government to purchase the original 53 centimeter high bronze for 10,000 francs -despite its standard prohibition against works made in multiples. At the time of the purchase Gérôme had already contracted with the fondeurs Siot-Decauville to produce the bronze in two sizes. It is also recorded in gilt bronze.
Gérôme also designed a pedestal on which his sculpture of Bonaparte and his horse was originally placed. The pedestal was in the form of an Egyptian temple, with three lotus-topped columns, a figure of Victory hanging from its pediment and a scribe crouched on its base. It was inscribed with the names of Bonaparte's allies in war, while the design of the pedestal compared Napoleon's power to that of the Egyptian civilization.
Gérôme began sculpting late in his life exhibiting sculpture for the first time at the age of forty-four. Nevertheless, he probably was not entirely new to the medium. As a painter, he may have executed sculptures as models. Once he began to sculpt, he certainly could have used these skills towards new ends. As in his painting, Gérôme was extremely eclectic in his sculpture. He furthermore experimented with combining materials and tinting marble. His most sucessful sculptures were his equestrian groups of Bonaparte, Washington, Frederick the Great, Caesar and Tamerlane, which were cast in small sizes as fine collectors' items. Ackerman has written of these works: "The sense of independent character is intense. The detail is crisp and appropriate, the castings are splendid. The number of casts made was limited and the prices were high." (Galerie Tanagra, op. cit.).