Clesinger executed the marble of his Taureau Romain in 1858 and sent it along with several of his other works to the Paris Salon in the same year. This barrage of works at one Salon, after five years of not exhibiting, was undoubtedly calculated to make an enormous impact and recapture for the artist the renown that had continued to dwindle since his first success at the Salon in 1847.

The poet Armand Barthet, a good friend of Clesinger, said of the Taureau Romain in an article on Clesinger's most recent works, "it is impossible to describe, one must see it. I swear I was dazzled... I know of only one thing in this genre which can compare to it - Barye's Seated Lion....This bull is a miracle". Napoleon III, the original purchaser of Barye's lion, must have heard of Barthet's not altogether impartial praise, for he soon acquired a version of the Taureau Romain for the Tuileries Palace.

Few nineteenth century sculptures ever received the amount of critical attention given to the Taureau Romain. The subject itself was probably inspired by the sculptures in the Sala degli Animali at the Vatican.

Another example was sold in these rooms on 15th February 1990.