Below, we will try to summarize as much as we can on the artists of many of the works offered on our website.
Frédéric Auguste Bartholdi (August 2, 1834 – October 4, 1904) was a French sculptor. He is also known as Amilcar Hasenfratz, a pseudonym used for his paintings of Egyptian subjects, apparently because of concern that his work in another medium would distract from his sculpture.
Born in Colmar, Alsace, he went to Paris to further his studies in architecture as well as painting. Then he made a long trip to Egypt and Yemen, where he heard about
the Suez project. He came back to his native city to become an architect. Bartholdi was a freemason, he was initiated on 14 October 1875 in the lodge L’Alsace-Lorraine, Grand Orient of France.
His first masterpiece is General Rapp's monument in Colmar. Then he had a lot of success in Alsace.
The work for which he is most famous is the Statue of Liberty, donated in 1886 by the Union Franco-Americaine (Franco-American Union), founded by Edouard de Laboulaye, to the United States. It was rumored all over France that the face of the Statue of Liberty was modeled after Bartholdi’s mother; and the
body after his mistress. Before starting his commission, Bartholdi traveled to the United States to personally select New York Harbor as the site for the statue.
Vincenzo (di Raffaello) de Rossi -(b
Fiesole, 1525; d Florence, 1587) was an Italian Renaissance sculptor and follower of Michelangelo
Giambologna became well known for a fine sense of action and movement, and a refined, differentiated surface finish. Among
his most famous works are the Mercury (of which he did four versions), poised on one foot, supported by a zephyr. The
god raises one arm to point heavenwards, in a gesture borrowed from the repertory of classical rhetoric that is characteristic of Giambologna's maniera.
Giambologna's several depictions of Venus established a canon of proportions and set models for the goddess's representation that were influential for two generations
of sculptors, in Italy and in the North. He created allegories strongly promoting Medicean political propaganda, such as Florence
defeating Pisa and, less overtly, Samson defeating a Philistine, for Francesco de' Medici (1562)
He delighted in solving the complex spatial problems of three intertwined figures in his famous Rape of the Sabine Women (1574-82). The subject was not finally determined until after it had been set up in the Loggia dei Lanzi in Florence's Piazza della Signoria. Hercules beating the Centaur Nessus (1599) is also a conscious tour
de force. It is also in the Loggia dei Lanzi.
The equestrian statue of Cosimo I de' Medici also in Florence, was completed by his studio assistant Pietro Tacca.
Henryk Kossowski Jr.(1855 - 1921) Henryk was a Polish born sculptor who moved to, and lived most of his life in Paris. He preferred the
Avent Garde feeling that his contemporaries created during this period (1880-1920) Camille Claudel, August Rodin, and Alfred
Boucher would have encountered Kossowskis work. Paris was a very exciting scene in these years, and Kossowski was quite prolific.
His pieces are collected all over the world today, and his sculpture will be collected for quite some time. His works usually
depict Greek or Roman mythology, or genre scenes of everyday life. Often they have art deco elements infused to the feel of
Eugene Laurent Born in Gray 1832, he
died in Paris in 1898. He studied under Coinchon and exhibited at the Salon from 1861. He specialized in portrait busts and
figures of contemporary and historical French celebrities. He sculpted the monument to Jack Callot in Nancy and the statue
of Francois Boucher in Paris town hall.
Louis Hottot (1834-1905) is considered
one of the finest French sculptors of the 19th century. Though little is known about the early days of his career, in 1885,
at the age of 55, Louis Hottot made the biggest step toward success as an artist, participating in the prestigious Sociétaire
des Artistes, Français. During this time, Hottot presented to the Salon one to two works each year from 1892 to 1898. Eastern
characters and scenes were the dominant subject matter of Hottot’s sculptural works and became his trademark. Today,
his interpretations of exotic peoples and events, coupled with his great skill, have made his works highly desirable.
Jean-Antoine Houdon (March 20, 1741 – July 15, 1828) was a French neoclassical sculptor. Houdon is famous for his portrait busts and statues of philosophers, inventors and political
figures of the Enlightenment. Houdon's subjects include Denis Diderot (1771), Benjamin Franklin (1778-09), Jean-Jacques Rousseau (1778), Voltaire (1781), Molière (1781), George Washington (1785-88), Thomas Jefferson (1789), Louis XVI (1790), Robert Fulton, 1803-04, and Napoléon Bonaparte (1806).
Born in Versailles, Houdon won the Prix de Rome in 1761 but was not greatly influenced by ancient and Renaissance art in Rome. His stay in the city is marked by two characteristic and important productions: the superb Ecorché (1767),
an anatomical model which has served as a guide to all artists since his day, and the statue of Saint Bruno in the church of Santa Maria degli Angeli e dei Martiri in Rome. After ten years stay in Italy, Houdon returned to Paris.
Houdon's portrait sculpture of Washington was the result of a specific invitation by Benjamin Franklin to
cross the Atlantic specifically to visit Mount Vernon, so that Washington could model for him. Washington sat for wet clay life models and a plaster life mask in
1785. These models served for many commissions of Washington, including the standing figure commissioned by the Legislature of Virginia, and located in the Virginia State Capitol in Richmond. Numerous variations of the Washington bust were produced, portraying him variously as a general in uniform,
in the classical manner showing chest musculature, and as Roman Consul Lucius Quinctius Cincinnatus clad in a toga. A cast of the latter is located in the Vermont State House.
Marius Jean Antonin Mercié (October 30, 1845 - December 13, 1916), French sculptor and painter, was born in Toulouse. He entered the École des Beaux Arts, Paris, and studied under Alexandre Falguière and François Jouffroy, and in 1868 gained the Grand Prix de Rome. His first great popular successes were the David and Gloria Victis, which was shown and received the Medal of Honour of the Paris Salon. The bronze was subsequently placed in the Square Montholon.
The bronze David was one of his most popular works. The Biblical hero is depicted naked with the head of Goliath at his feet like Donatello's David, but with a turbanned head and sheathing his long sword,
Thomas Francois Cartier - (1879 - 1943) was born in Marseilles, France on February 21st 1879.
Charles Valton - (1851 - 1918) was born in Pau, France on January 26th 1851.
Louis Riche -(1877
- 1949) was born in Paris France on May 29th 1877.
- Born in
Milan, into a notably artistic family, Rembrandt Bugatti was the second son of Carlo Bugatti (1856-1940) and his wife,
Teresa Lorioli. His older brother was Ettore Bugatti who became one of the world's most famous automobile manufacturers.
He was given his first name by his uncle, the painter Giovanni Segantini. His father was a successful and important Art Nouveau furniture and jewelry designer who also worked in textiles, ceramics, and silver metalware. As such, Rembrandt
Bugatti grew up in an environment where a great many of his parent's friends were from the artistic world. In 1902, the family
moved to Paris, where they lived in a community of artisans.
Rembrandt Bugatti was a young man when he began to work with the art foundry and gallery owner, Adrian Hébrard.
He produced a number of bronzes which were successfully exhibited and promoted by Hébrard. Bugatti's love of nature led to
him spending a great deal of time in the wildlife sanctuary near the Jardin des Plantes in Paris or at the Antwerp Zoo where he studied the features and movement of exotic animals. His sculptures of animals such as elephants, panthers
and lions became his most valuable and popular works.
The silver elephant mascot that sits on top of the radiator of the Bugatti Royale was cast from one of Rembrandt's original sculptures.
His art works are highly prized and are now also highly priced. A cast of his 1909-1910 bronze, Babouin
Sacré Hamadryas (Sacred Hamadryas Baboon), was auctioned at Sotheby's for $2.56 million.
Unfortunately, Rembrandt Bugatti suffered from mental health problems and he gradually slipped into a severe
depression. During the war the Antwerp Zoo was forced to kill most of its wild livestock which deeply affected Bugatti
many of whom he used as objects for his sculpture. In 1916, at the age of 31, he ended his own life by natural gas. He is interred in the Bugatti family plot at the municipal cemetery in Dorlisheim in the Bas-Rhin département of the Alsace region of France.
Demetre H. Chiparus (1886-1947) He was born in Romania, the son of Haralamb and Saveta. In 1909 he went to Italy, where he attended the classes of Italian sculptor Raffaello Romanelli. In 1912 he traveled
to Paris to attend the Ecole des Beaux Arts to pursue his art at the classes of Antonin Mercie and Jean Boucher. Demetre Chiparus
died in 1947 and was buried in Bagneux cemetery, just south of Paris.
The first sculptures of Chiparus were created in the realistic style and were exhibited at the Salon of 1914. He employed the combination of bronze and ivory, called chryselephantine, to great effect. Most of his renowned works were made between 1914 and 1933. The first series of sculptures manufactured by Chiparus were the series of the children.
The mature style of Chiparus took shape beginning in the 1920's. His sculptures are remarkable for their bright and outstanding decorative effect. Dancers of the Russian Ballet, French theatre, and early motion pictures were among his more notable subjects and were typified by a long, slender, stylized appearance. His work was
influenced by an interest in Egypt, after Pharaoh]] Tutankhamen's tomb was excavated.
He worked primarily with the Edmond Etling and Cie Foundry in Paris administrated by Julien Dreyfus. Les Neveux
de J. Lehmann was the second foundry who constantly worked with Chiparus and produced the sculptures of his models.
Chiparus rarely exhibited at the Salon. In 1923 he showed his “Javelin Thrower” and in 1928 exhibited
his “Ta-Keo” dancer. During the period of Nazi prosecution and the World War 2 the foundries discontinued production of work by Chiparus. The economic situation of that time was not favorable
to the development of decorative arts and circumstances for many sculptors worsened.
Since the early 1940s almost no works of Chiparus were sold but he continued sculpting for his own pleasure,
depicting animals in the Art Deco style. At the 1942 Paris Salon, the plaster sculptures “Polar Bear” and “American
Bison” were exhibited and in 1943 he showed a marble “Polar Bear” and plaster “Pelican”.
Collector interest in the work of Chiparus appeared in the 1970s and has flourished since the 1990s.
Sculptures of Dimitri Chiparus represent the classical manifestation of Art Deco style in decorative bronze
ivory sculpture. Traditionally, four factors of influence over the creative activity of the artist can be distinguished: Serge Diaghilev's Ballets Russes, ancient Egyptian art, and French theatre. Early motion pictures were among his more notable subjects and were
typified by figures with a long, slender, stylized appearance. Some of his sculptures were directly inspired by Russian dancers.
For example, faces of “Persian Dance” figures reveal the likenesses of Vaclav Nijinsji and Ida Rubinshtein, and
the dress in “Starfish” exactly reproduces the sketch for Goldfish’s dress from the ballet “Underwater
kingdom” by Lev Annensky. Chiparus could have been influenced by Russian ballets indirectly, through the performances
of French music halls and cabarets which bore traces of the strong impact of Russian ballet. Quite often, Chiparus used the
photos of Russian and French dancers, vedettes and models from fashion magazines of his time.
After the tomb of Tutankhamen was discovered in 1922, the art of ancient Egypt and the East came to french
fashion and is also reflected in the creative activity of Chiparus. Several sculptures by Dimitri Chiparus and Claire Colinet
represent queen Cleopatra and Egyptian dancers. The sculptures of Chiparus reflect his time and 1920-1930s sentiment of “folle”.
Coming from the oldest French tradition of high-quality and extra-artistic decorative arts, the sculptures of Dimitri Chiparus
combine elegance and luxury, embodying the spirit of the Art Deco epoch.
Pierre Jules Mene (1810 - 1877) was born in Paris, France on
March 25th 1810.
Frederic Remington (1861-1909) depicted
the life of the cowboy during 1880's and 1890's better perhaps than any other artist of his time. He thought of himself as
a true citizen of the American West.
A native of Canton, New York, Remington left college at the age
of 19, looking for adventure in the West. Remington operated his own ranch in Kansas and in 1886 he gave it up as a failure
and came back to the East. The experience served him well in his later career as an artist. " What success I have had", Remington
once told a newspaper reporter, "has been because I have a horseman's knowledge of a horse. No one can draw equestrian subjects
unless he is an equestrian himself".
As an artist, Remington first made a name for himself as an illustrator and painter,
and began sculpting only 14 years before his death in 1909. "I was impelled to try my hand at sculpture by a mental desire
to say something in the round as well as in flat. Sculpture is the most perfect expression of action. You can say it all in
clay". The first Remington in clay was "Bronco Buster", completed in 1885.
Among his admirers were Theodore Roosevelt, who once said that "Remington portrayed
a most characteristic and yet vanashing type of American life. The soldier, the cowboy, the rancher, the Indian, the horses
and cattle of the plains will live in his pictures and bronzes, I verily believe for all time."
Alfred Barye (1839 - 1882) Son of the great Antoine Barye.
Antoine Louis Barye (September 24, 1796-June 25, 1875) was a French sculptor.
Born in Paris, Barye began his career as a goldsmith, like many sculptors of the Romantic Period. After studying under sculptor Francois-Joseph Bosio and painter Baron Antoine-Jean Gros he was in 1818 admitted to the École des Beaux Arts. But it was not until 1823, while working for Fauconnier, the goldsmith, that he discovered his true predilection from watching
the wild beasts in the Jardin des Plantes, making vigorous studies of them in pencil drawings comparable to those of Delacroix, then modelling them in sculpture on a large or small scale.
In 1831 he exhibited his "Tiger devouring a Crocodile", and in 1832 had mastered a style of his own in the "Lion and Snake." Thenceforward Barye, though engaged in a perpetual
struggle with want, exhibited year after year these studies of animals--admirable groups which reveal him as inspired by a
spirit of true romance and a feeling for the beauty of the antique, as in "Theseus and the Minotaur" (1847), "Lapitha and Centaur" (1848), and numerous minor works now very highly valued.
Barye was no less successful in sculpture on a small scale, and excelled in representing animals in their most familiar attitudes. Examples of
his larger work include the "Lion of the Column of July," of which the plaster model was cast in 1839, various lions and tigers in the gardens of the Tuileries, and the four groups--"War, Peace, Strength, and Order" (1854).
In 1852 he cast his bronze "Jaguar devouring a Hare." Fame came late in the sculptor's life. He was made Professor
of Drawings at the Museum of Natural History in 1854, and was elected to the Academy of Fine Arts in 1868. No new works were produced by Barye after 1869.
The mass of admirable work left by Barye entitles him to be regarded as one of the great animal life
artists of the French school, and the refiner of a class of art which has attracted such men as Emmanuel Frémiet, Peter, Cain, and Gardet.
Isidore Jules Bonheur (1827 - 1901) was born on May 15th
1827 in Bordeaux, France.
Jules Moigniez (1835 - 1894) was born in Senlis, France.
Louis Vidal (1831 - 1892) was born in Nimes, France on December 6th
Emmanuel Fremiet (1824 - 1910) was born in Paris, France December
Cyrus Dallin (1861 - 1944) was born in a log cabin in Springville,
Utah in 1861 to Mormon parents. Dallin was awed by the Ute Indians that lived around the area in which he grew up. He
became close friends with many of the Indian youths and spent much of his time playing games with them. When he became
tired of playing he would set with the young Indians and they would make clay sculptures of the animals of the plains that
were all around them. This was the beginning of a long career in sculpture. Dallin was very impressed by the culture,
civilization and humor of the Ute that he met and this developed in to a great respect for them. When he was eighteen he went
to work in the silver mines in the Tantic district. It was while he was working there that he discover a vein of fine
white talc clay with which he modeled two heads that delighted the other miners, the towns people and the wealthy mine owner
C. H. Blanchard who offered to pay for Cyrus to travel to Boston in order to further his talent in art. On this train
journey he traveled with a delegation of Crow Indians who were on their way to Washington to air their grievances and he became
good friends with several of them In Boston he studied under the sculptor Truman Bartlett, paying his way by making wax heads
for department stores. Within two years he had developed to the point that he opened his own studio where he specialized in
portrait busts and statues.
In 1884 Dallin made his first sculpture of
an Indian title Indian Chief. He traveled to France in 1888 as was popular at the time and enrolled in the Academie Julian.
When Buffalo Bill and the Wild West Show came to Paris in 1889 he spent much of his time with the Indians talking to them
and modeling them in clay. It was in this year that he completed the first of his four Indian equestrian masterpieces titled
The Signal of Peace, which he exhibited at the Paris Salon of 1890. He entered it again in 1893 Chicago Exhibition and
it so impressed Judge Lambert Tree of Chicago that he Commissioned a life size sculpture for the Lincoln Park in Chicago where
it is still located today. By this time Dallin was recognized as on of the finest American sculptures of all time and
was elected to the National Sculpture Society. He returned to Utah to create the Brigham Young Pioneer Monument and
on his return to the East settled in Philadelphia where he became an instructor at the Drexel Institute of Technology until
his return to Paris in 1897. He entered the second of his great Indian equestrian masterpieces titled The Medicine Man in
the 1900 Paris exposition where it won the Gold Medal. A monument of The Medicine Man was purchased by the city of Philadelphia
and erected in Fairmount Park. Dallin exhibited the third Indian equestrian statue titled The Protest at the 1904 St.
Louis Exposition. After his return from Paris he took up a position with the Massachusetts State Normal Art School as
an instructor and created his fourth Indian equestrian masterpiece titled appeal to the great sprit was erected outside of
the Museum of Fine Arts in Boston. Dallin's intimate knowledge of his subjects as well as his personal involvement in
the plight of the Indians gives his sculpture a dramatic impact, power, and presence which captures the viewer had holds them
Charles Marion Russell (1864 - 1926) was born on March 19th
1864 near St. Louis Missouri in a family with a history of western exploration. As a young boy he listened to stories
told about his uncles who were early western traders, one, William Bent set up the trading post on the Santa Fe Trail known
as Bent's Fort and another uncle, Charles Bent, was the Governor of New Mexico in 1848. Russell had an aptitude for
art at an early age sculpting first in soap and bees wax then moving on to using the local clay for his sculptures.
His first success with sculpture was at the age of twelve when his father had a clay model of a horse and rider cast in plaster
and entered it in the St. Louis County Fair where it won a Blue Ribbon. Beset by bad grades and a lack of enthusiasm
for school work young Charlie was sent to a Military School in New Jersey.
On one of his holidays from school he was allowed
to travel west with a family friend in the hopes that he would return home and enter the family business. This western
trip had just the opposite effect on the young sixteen year old Russell as he headed to Montana with the family friend who
had a sheep ranch there. Rather than return to St. Louis, Russell bought two horses and set off for the Rockies alone.
Luckily he ran into Jake Hoover a prospector, hunter, and cowboy who for the next two years taught the young Russell wilderness
survival skills and introduced him to many local Indian tribes who befriended him. During the winter of 1886-1887 while
working as a herder for a cattle ranch he drew a sketch of a starving steer and sent it back to the ranch owner to describe
the plight of his cattle. This water color titled Waiting for a Chinook was displayed at a Helena saloon and brought him his
first recognition as a local artist. While returning from Canada in 1888 Russell was invited to stay with the Blackfoot
Indians for the winter. It was there that he learned the Indian language as well as Indian sign language. It was during this
stay that he gained a deep knowledge and respect for Indian culture and ways and he was very tempted to stay with them permanently.
He dressed in buckskins and let his hair grow long and was give the name of Ah-Wah-Cous (Antelope). He drew and sculpted
their costumes, lifestyles, and made many portraits of them with uncanny accuracy. The Blackfoot helped him with his artwork
by pointing out the errors that he made in their costume and weapons.
In 1893 Russell gave up working as a cowboy
and devoted himself to being an artist in earnest. He met and married his wife Nancy in 1896 who would become the driving
force behind him as an artist. They bought a house in Great Falls Montana and built a studio which resembled a log cabin made
from telephone poles on an adjoining lot. Their first trip together to New York City in 1903 resulted in disappointment
as the sale of his works were not as successful as they had hoped. Charlie spent his time back home modeling a horse
with a drunken cowboy firing his gun in the air. This was to be his first successful sculpture titled Smoking Up but
only six casts were made of the model and one of the sculptures he presented to President Teddy Roosevelt. Despite this and
his earlier illustrations Russell was virtually unknown outside of Montana. The following year he had three bronze groups
cast by Roman Bronze Works titled The Buffalo Hunt, Counting Coup, and Scalp Dance that were sold through Tiffany and Co.
in New York. He continued to model and cast bronzes in limited editions because of the high cost of producing them and his
limited funds. Russell modeled the wild animals of the west as well as people but his greatest fondness was for horses. All
of Russell's bronzes have great character as he had the gift of sight to be able to create spontaneous models with a sense
of feeling and life to them and not cold static portraits. In 1912 Russell had his second one man show in New York
City and his first show in Canada. It was not until he exhibited in London in 1914 that he became an international success
By 1919 the Russell's were spending their winters
in Los Angeles, California where his art was very popular with the Hollywood movie stars. Nancy took over more of the business
side of his work, determining what was cast and setting the prices on his sculptures completely managing his success.
Charlie Russell died suddenly on October 24th 1926 of a heart attack after undergoing an operation. Many of his models
were never cast in bronze during the artist's lifetime and after he died his widow continued to have certain models cast.
A group of his original models and molds as well as the Russell's home in Pasadena, California were purchased by Homer Britzman
from the estate of Nancy Russell. Mr. Britzman had a limited edition of these models cast by the same foundry used by
Mrs. Russell and sold them only by subscription to the entire edition. It must be remember that Russell sculpted many
of his models as a form of entertainment and relaxation not intending for them to be more than a pleasurable pastime and many
of these small wax models he gave away to friends and admires who later had them cast in bronze to preserve his art.
Whereas Remington went west and returned to become a successful artist Charles Russell lived in the west as a ranch hand drawing
and sculpting daily life as he lived it and it was only late in his life that he received the recognition of the art world
that he truly deserved.
Auguste Rodin was born in 1840 and died
in 1917. In his time he was considered the greatest sculptor since Michelangelo. His style was both classic and romantic.
Rodin followed nature closely and presented it exactly as he saw it. It was he who led the way in modern sculpture.
He never was awarded any national honors which was probably due to the fact that
he lived during the years that his country was at war with Germany.
In 1967 during the 50th anniversary of Rodin's death, he was finally awarded with
public tribute to Preiss.
Johann Philipp Ferdinand Preiss was born
February 13, 1882 and died from a brain tumor in 1943. He studied in Paris and worked with Profess Poertyle in Berlin. Preiss
worked to a great extent with ivory and bronze with magnificent results.
It has been established that Preiss designed and worked on all his models and had
many sculptors work for him. Though he had sculptors work for him, he did assemble most all of his pieces.
Claire Jeanne Roberte Colinet was
born in Brussels where she was a student of Jef Lambeaux. Like many artist, she moved to Paris where she was elected to the
Societe des Artistes Francais. In 1914 she won an honorable mention at the Salon des Independants from 1937 to 1940. She had
a powerful sense of space with limbs and hands arranged in strange balletic poses.
Louis Justin Icart was born September
12, 1888 in France . His second wife Fanny, as well as the city of Paris, which was the uncontested international center of
beauty and art, were his inspiration for much of his work. During his forty year artistic career, Icart delighted lovers of
Art Deco, a fashion directed almost exclusively towards women on both sides of the Atlantic. Art Deco was a period of perfection
of workmanship and this factor in Icart's work related him to the period.
Today this witty, joyful, and often poignant images of beautiful women of France
have found a new generation of admirers.
Carl Kauba was born in Vienna in 1865
and died in 1922. Although he signed "Carl", Kauba's birth certificate officially identifies him as "Karl" son of an Austrian
shoemaker. He never visited America himself but was inspired by the romantic stories written by the German, Carl May and many
photographers and illustrations which he had seen. Also inspired by the possessions of a complete Western saddle and other
Indian artifacts that an American friend from Ohio sent as gifts.
In contrast to most artists, Kauba's success as a businessman was equal to his
artistic achievements. He worked in a studio in his home and personally directed the casting of his clay models in local foundries.
Emile Louis Picault (1833-1915) was a French sculptor
who studied under Royer and exhibited at the Salon between 1863 and 1909.
Emmanuel Frémiet (December 6, 1824 - 1910, in Paris, France) was a French sculptor. He is famous for his sculpture of Joan of Arc in Paris (and its "sister" statue in Philadelphia) and the monument to Ferdinand de Lesseps in Suez.
He was a nephew and pupil of Rude and chiefly devoted himself to animal sculpture and to equestrian statues in armour. His earliest work was in
scientific lithography (osteology), and for a while he served in times of adversity in the gruesome office of painter to the Morgue. In 1843 he sent to the Salon a study of a Gazelle, and after that date worked prolificly. His "Wounded Bear" and "Wounded Dog" were produced in 1850, and the Luxembourg Museum at once secured this striking example of his work.
In the 1850s, Frémiet produced various Napoleonic works. In 1853, Frémiet, "the leading sculptor of animals
in his day" exhibited bronze sculptures of Emperor Napoleon III's basset hounds at the Paris Salon. Soon afterwards, from 1855 to 1859 Frémiet was engaged on a series of military statuettes for Napoleon III. He produced his equestrian statue of Napoleon I in 1868, and of Louis d'Orlans of 1869 (at the Château de Pierrefonds) and in 1874 the first equestrian statue of Joan of Arc, erected in the Place des Pyramides, Paris; this he afterwards (1889) replaced with another and still finer version. During this period he also executed "Pan and the bear cubs", also acquired by the Luxembourg Museum and now in the Musée d'Orsay.
Guillaume Coustou(b Lyon, 29 Nov 1677; d Paris, 22 Feb 1746)
son of Francois Coustou. Brother of (1) Nicolas Coustou. He trained with his brother and their maternal uncle
Antoine Coyzevox in Paris. In 1697 he won the Prix de Rome, but he was not awarded a place at the Académie de France in Rome.
Instead he went to Italy at his own expense and worked in Rome for Pierre Legros (ii), by whose lively Baroque style he was
influenced. Around 1700 he returned to France to assist Coyzevox with the execution of his two monumental equestrian statues
of Fame and Mercury, intended for the ornamental horse pond in the park at the château of Marly, Yvelines (marble, 1701-2;
Paris, Louvre). In 1704 he was received (reçu) as a member of the Académie Royale, presenting a statuette of Hercules on the
Funeral Pyre (marble; Paris, Louvre), a work that reveals his virtuosity as a marble-carver and his predisposition for dynamic
composition. He had a successful career within the Académie: in 1706 he was appointed assistant professor, in 1715 professor,
in 1726 assistant rector and in 1733 rector.
By the 1730s he was the most prominent sculptor in royal employment, and this
status was acknowledged when he was given the commission for what have become his most famous works, two magnificent monumental
horses restrained by grooms, intended to replace the less energetic horses by Coyzevox at the horse pond at Marly. The Marly
Horses (marble, 1739-45; ex-Place de la Concorde, Paris; now Paris, Louvre; see fig.) are among the sculptural masterpieces
of the 18th century and have been widely reproduced, in a variety of materials. Among Guillaume's pupils were his son (3)
Guillaume (ii), his nephew Claude Francin and Edme Bouchardon.
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Visit us often to find special Bronze Sculptures from the following artists: Auguste Rodin, Burghers of Calais, Les Bourgeois
de Calais, Eustache de Saint-Pierre, Andrieu de Andres, Jean de Aire, Jacques de Wiessant, Pierre de Wiessant, Jean de Fiennes,
Bronze Ivory,Leotard Dancer, Tender Promises, Eternal Story, Gerda Iro Gerdago, C. Mirval, Dimitri Chiparus, T. Loran, P.L.
Bessin, J.E. Mir, Marcel Bauraine, Lucien Alliot, A. Fayral, P. Philippe, C.J. R. Colinet, Bill Layne, Auguste Poitevin,Hippolyte-Francois
Moreau, P.J. Mene, Emile Guillemin, H.F. Moreau, Hippolyte-Francois Moreau, L.A. Moreau, Edouard Drouot, Waager, C.O. Levy,
C.M. Clodion, Henri Jacobs, E.L. Collet, J Luca Madrassi, H. Kossowski, Jr., G.L. Benisewsky, Lavingtrie, A. Kuhne, D.R. Rushing,
G. Coustou, E. Fremiet, P.N. Tourgueneff, M.J.A. Mercie, Ruffony, Raphael X, D. Rene Rushing, R. Nannini, A.E. Carrier-Belleuse,
Ernst Wenck, M. Constant, Maurice Favre, A Santini, E. Villanis, J.M. Lambeaux, J.A. Houdon, A.L. Barye, Waager, Duchamps,
Frederick Remington, C.M. Russel, Cyrus E. Dallin, Jonathan Bickert, Carl Kauba, R. Arrieta-Eskarzaga, J.E. Fraser, T. Remington
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