726

Exceptionally Rare "Maquette Francaise" Walnut Artist Model of an Equestrian

fourth quarter 19th century, the horse and rider carved and fully articulated with flexible metal and brass ball joints, the horse with a leather banded neck, each figure stamped "Maquette Francaise sur Armature Articulee/Brevetee S.G.D.G/Paris B", the figures mounted together on an adjustable iron stand raised on a wood plinth.
overall h. 28-1/4"; horse h. with straight leg conformation 27", w. 27"; rider h. 20", w. 6"; plinth l. 24"

Provenance: Trevor Philip & Sons, Ltd., London, 1999; Private collection.

Notes: Lay figures/mannequins are truly the "silent partners" in the history of Eastern and Western cultures. In Ancient China, they were fertility votives, temple and funerary guards. They were venerated in the form of a terracotta army of more than 8,000 soldiers buried with the first Emperor of China (259- 210 BCE) in Xi'an, and they have influenced various forms of Chinese opera for over 800 years. In the Occident they were more commonly facilitated in the plastic arts. It is purported that they were employed as anatomical aids by Ancient Greek sculptors, though no true evidence of them predates the Italian Renaissance, during which they were used by some of the most talented artists of the time. Michelangelo used them in his commission of the Sistine Chapel to better register light, shadow and perspective, while lying on his back on a ceiling scaffold, and Fra Bartolomeo, according to Giorgio Vasari, was the first artist to devise a fully articulated life-size lay figure in wood.

According to Jane Munro, in her book Silent Partners: Artist and Mannequin from Function to Fetish, by the mid-to-late 18th/early 19th century, major English and French institutions requisitioned elaborate, expensive artist/lay figures. In 1768, the Royal Academy commissioned a "Mr. Robert Addison" to produce an anatomically correct layman to "have the motions" and "be compleat in every respect". Francois Guillois, a French contemporary of Addison, also courted the government and top art schools for bids to create technologically advanced lay figures. By the 19th century, smaller lay figures/maquettes, made of secondary woods like pine and walnut/fruitwoods, were marketed by colourmen/art suppliers to individual artists and studios to assist in the rehearsal of a movement or pose, in much the same way sculptors use modelli. These figures were typically androgynous and came in a range of sizes generally under twenty-four inches. Equestrian sets, like the ones offered here, were avidly coveted by artists. Capturing the range and movement of a horse was a draftsman's feat of virtuoso before Muybridge's 1878 experiment with stop-action photography that finally settled the debate, "Do all four legs of a horse leave the ground when it runs?" In addition to nascent photography, these horse and rider models were instrumental to French and English artists at the turn-of-the-century.

Period advertisements for the grand "Maquette Francaise" horse and rider boasted forty-two articulated pieces with superior metal interior armatures and ball joints for a princely sum of 100+ French Francs, the equivalent today of more than 315 Euros/or 358 USD. The smaller English horse and rider offered in lot 727 is a predecessor of the "Maquette Francaise". Though its segmented wood mane and neck do not possess the same verisimilitude and range of mobility, its durability and craftsmanship rivals the newer French model. This equestrian set, also carved from walnut, is identical in size and construction to 1830 models marked by C. Barbe, a London supplier operating under the name C. Barbe at 60 Quadrant Street from 1827-1837, thereafter as Camille or Charles Barbe and Lechertier Barbe until 1897. According to the British Suppliers Online Inventory at the National Portrait Gallery, Lechertier Barbe was regarded by the prominent writer George Sala as "a very old-established artist's colour shop, indeed, as old, perhaps, as Winsor and Newton in Rathbone Place, although perhaps junior of the historic Newman and the equally antique Reeve". Lechertier Barbe continued to market artist models/lay figures through the 1850s in their Artists' Colourmen Catalogue, even boasting French models.


  • Condition: **Both figures are in overall very good condition with no significant repairs or losses. There is an older, well-integrated glue repair to a shrinkage crack that opened up on the right leg at the elbow joint. Two of the leather neck bands are cracked on one side, but are still attached to the rest of the structure. There are some minor scratches to the left front barrel of the horse from rubbing/friction of movement of the leg. The reign and bit that extended from the horse's mouth and the figure's fisted hand is lacking. The figure has some stippling at base where it attaches to the metal spear on horse's back/loin. Condition is as to be expected with age, material and use.

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March 24, 2019 10:00 AM CDT
New Orleans, LA, US

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