Bronze plaque of stag by Barye.5 inches by 3 inches.////////////////////////////////////////////////////////////////////(From Wiki):"Alfred Barye "Le Fils" or Alf Barye (Paris, France, 21 January 1839 to Paris, France, 1882) was a French sculptor, of the Belle Epoque, pupil of his father the artist Antoine-Louis Barye. In cooperation with Émile-Coriolan Guillemin, Barye did the artwork for "The Arab Warrior Knight on Horseback". Included in Barye's oeuvre were animalier bronzes as well as Oriental subjects. At his father's request, he signed his work as "fils" to differentiate his work from his father's.Alfred Barye was born in Paris, France, on 21 January 1839, the son of Antoine-Louis Barye. He learned his craft of animalier sculptor under the watchful eye of his father who was one of the original pioneers of animal sculpture in the mid-to-late 19th century. The younger Barye didn't always get along with his father; there were times when the two of them were not on speaking terms because until instructed not to do so, Barye was signing some of his bronzes as "A. Barye" which the senior Barye objected to because it created confusion as to which Barye, father or son, created the sculpture.A silvered bronze sculpture of a pheasant by Barye (c. 1875)He specialized in the animalier school in the production of bronze sculptures. Although a fine artist in his own right, he struggled to create his own identity living in the shadow of his more famous father. The vast majority of his pieces are signed "A. Barye, fils" while some are marked "Barye" or "A. Barye" which created some confusion – intentional or not – with those of his father.[1] The majority of the sculptures leaving the Barye foundry were sand castings[2] rather than lost-wax castings. Alfred typically used mid-brown patinas but would sometimes add green[3] (a color famously used by his father) and auburn-colored hues in the patination process.[3] Any Barye bronze – by father or son – will generally have an exquisite patina. Antoine-Louis was particularly finicky with his patinas and would not allow other foundries to apply them, preferring to do it himself for appearance and quality control purposes.[1] Alfred, too, would not let a sculpture leave his workshop without a perfectly applied and visually pleasing patina.Alfred Barye did a production of bronze sculptures and focused his attention on race horses or horses on the move. Some of his well-known bronzes are The Arab Warrior Knight on Horseback (1890–1910, made in Paris, height 87 cm, width 61 cm, depth 30 cm, bronze).Death and legacyBarye died in Paris in 1882. He is known for the precision detail in his bronze sculptures, as shown in the pheasant sculpture (pictured right).[1] Barye was known for great attention to detail on his bronzes. He produced a number of bird sculptures as well as genre figures.[1] He received "honourable mention" honors in the 1897 Salon for the work Aide Fauconnier Indien, Retour de Chasse à la Gazelle. Alfred Barye's final submission at the Salon de Louvre was in 1882.[1]MuseumHis bronzes are now in many museums collections:Louvre Museum, ParisMusée d'Orsay, ParisBrooklyn Museum, New York CityFogg Museum, Harvard Art Museums, Cambridge, MassachusettsBusch–Reisinger Museum, Harvard Art Museums, Cambridge, MassachusettsArthur M. Sackler Museum, Harvard Art Museums, Cambridge, MassachusettsSão Paulo Museum of Modern Art, BrasilThe Israel Museum, Jerusalem, IsraelExhibitionsAlfred Barye did several exhibitions in Paris from 1864 to 1882.The Salon de Louvre Museum, Paris, 1864 through 1882The racehorse Sir Walter Scott, 1865Italian jester, 1882Signature examplesSignature of Alfred BaryeAlternate signature of Alfred Barye[1]See alsoBiography portalEquestrian statueAntoine-Louis Barye, the fatherÉmile-Coriolan GuilleminAnimalierBelle ÉpoqueReferences Kjellberg, Pierre (1994). Bronzes of the 19th Century (1st ed.). Atglen, Pennsylvania: Schiffer Publishing, Ltd. p. 53. ISBN 0-88740-629-7. "The Bronze Gallery – Alfred Barye". bronze-gallery.com. Retrieved 13 July 2015. "Alfred Barye, French -- Rhinoceros (Lot 139)". Sothebys.com. Retrieved 23 July 2015.BibliographyPatricia Janis Broder, Bronzes of the American West, H. N. Abrams, 1974News, Volumi 29–30, Baltimore Museum of Art, 1967Musée du Louvre. Département des sculptures, Françoise Baron, Corinne Jankowiak, Christine Vivet, Geneviève Bresc-Bautier, Isabelle Lemaistre, Guilhem Scherf, Jean-Charles Agboton-Jumeau, Sculpture française: Renaissance et temps modernes, Réunion des musées nationaux, 1998Théophile Thoré, Les Salons: Salons de 1864–1868, H. Lamertin, 1893Stanislas Lami, Dictionnaire des sculpteurs de l'École française, Volume 8, Champion, 1921Dictionnaire universel des contemporains contenant toutes les ..., Volume 1, 1870Musée du Louvre (Paris). Département des sculptures du Moyen Age, de la Renaissance et des temps modernes, Musée national du Louvre (Paris). Département des sculptures, Sculpture française, Réunion des musées nationaux, 1998The Sculpture Journal, Volume 6, Public Monuments and Sculpture Association, 2001The University of Rochester Library Bulletin, Volumi 38–43, University of Rochester Library, 1985The São Paulo Collection: From Manet to Matisse, Mazzotta, 1989Arlene Hirschfelder, Paulette F. Molin, Yvonne Wakim, American Indian Stereotypes in the World of Children: A Reader and BibliographyFogg Art Museum Handbooks, Editions 4, Harvard University, 1983Pierre Kjellberg, Les Bronzes du XIXe Siècle, 1986, (p. 369, "the Arab warrior knight on horseback")Eleonora Luciano, William U. Eiland, Georgia Museum of Art, Animals in bronze: the Michael and Mary Erlanger collection of animailer bronzes, Georgia Museum of Art, University of Georgia, 1996Elisabeth Hardouin-Fugier, Le peintre et l'animal en France au XIXe siècle, Éditions de l'Amateur, 2001Harold Berman, Bronzes; Sculptors & Founders, 1800–1930, Volume 2, Abage, 1976Yves Devaux, L'univers des bronzes et des fontes ornementales: chefs-d'Âœuvre et curiosités, 1850–1920, Éditions Pygmalion, 1978Arts Magazine, Volume 17, Art Digest Incorporated, 1942Théophile Thoré, 1864–1868

Provenance: Graham Gallery,NYC,excess inventory that no longer fits their focus that they don't wish to offer in the Gallery.