Vintage Art Nouveaux 24 French Pierrot Bronze Bust Sculpture Commedia dell'Art

Art Nouveaux 24" French Pierrot Polychrome Bronze Bust Sculpture Commedia dell'Arte

 

Measurements: 24" tall x 12" wide

 

Condition: Excellent vintage condition. No chips, scratches, damage or repairs to this bronze. Please refer to all photos for this great bronze sculpture. Used only for private display.

 

Description: This is a beautifully crafted Vintage Art Nouveaux French Polychrome Bronze Bust Sculpture featuring a young Commedia dell'Arte Pierrot.

It is playful and uplifting as well as masterfully sculpted.

The contrast in colors are amazing in this rare illustration of character. Rich dark aged brown and a wonderfully cool copper oxide colored frilled collaret. A unique styled hat featuring a strip across the middle is not common for Pierrot . The patina is partially hand rubbed back to reveal varied and complex golden bronze highlights which are evident on the facial area contrasted by subtle shadows in recessed areas. The resulting patina is rich and traditional and will appear different in different light settings. In a dark room the patina will appear dark

and aged but under light the incredible golden brown patina will be revealed. Under direct sunlight or the photo flood lights used in these photographs, the

finish will appear brighter and lighter than normal. The areas on the busts which are normally black such as hair have a

very subtle black patina applied over the finish which is then rubbed back.

 

 

To prevent tarnishing, the patina is sealed with a lacquer coating and buffed with

bronze paste wax. Although the surface is durable, care should be exercised to avoid scratches with metallic objects. Polish the casting with a dry soft dust

cloth and once or twice a year use a small amount of paste wax.

 

Perfect for any collector or for practical use.

 

***All general responses must include name and telephone number. We will ship anywhere. Sizes are approximate.

 

It's the buyer's responsibility to pay customs fees, duties, import taxes, and related charges.

 

Note: Color of item might deviate slightly in comparison to the original article due to differences in computer monitors and different lighting conditions. Please read description of color. I personally inspect and clean each item before it posts on ebay. It will be well-packaged in bubble wrap and/or packing peanuts...etc., to withstand ordinary travel without damage.

 

International Buyers wait for an accurate invoice to be generated as eBay requires an estimated shipping quote to be included in all listings.

 

Payments must be made within 5 days.

 

There are no returns on this item.

 

Period make is estimated and not guaranteed.

 

Photos are taken to represent each item as clearly and thoughrouly as possible. Please review each carefully and take into consideration all details as much as possible when purchasing.

 

 

Information:

 

Pierrot, or ‘Pedroline’ was a comic servant character, often Pantaloon's servant. His face was whitened with flour. During the 17th century, the character was increasingly portrayed as stupid and awkward, a country bumpkin with oversized clothes. During the 19th century, the Pierrot character became less comic, and more sentimental and romantic. Also in the 19th century, Pierrot troupes arose, with all the performers in whiteface and baggy white costumes.

 

 

Pierrot (French pronunciation: [pjεʁo]) is a stock character of pantomime and Commedia dell'Arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a hypocorism of Pierre (Peter), via the suffix -ot. His character in postmodern popular culture—in poetry, fiction, the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap. But most frequently, since his reincarnation under Jean-Gaspard Deburau, he wears neither collar nor hat, only a black skullcap. The defining characteristic of Pierrot is his naïveté: he is seen as a fool, always the butt of pranks, yet nonetheless trusting.

It was a generally buffoonish Pierrot that held the European stage for the first two centuries of his history. And yet early signs of a respectful, even sympathetic attitude toward the character appeared in the plays of Jean-François Regnard and in the paintings of Antoine Watteau, an attitude that would deepen in the nineteenth century, after the Romantics claimed the figure as their own. For Jules Janin and Théophile Gautier, Pierrot was not a fool but an avatar of the post-Revolutionary People, struggling, sometimes tragically, to secure a place in the bourgeois world. And subsequent artistic/cultural movements found him equally amenable to their cause: the Decadents turned him, like themselves, into a disillusioned disciple of Schopenhauer, a foe of Woman and of callow idealism; the Symbolists saw him as a lonely fellow-sufferer, crucified upon the rood of soulful sensitivity, his only friend the distant moon; the Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line. In short, Pierrot became an alter-ego of the artist, specifically of the famously alienated artist of the nineteenth and early twentieth centuries. His physical insularity; his poignant lapses into mutism, the legacy of the great mime Deburau; his white face and costume, suggesting not only innocence but the pallor of the dead; his often frustrated pursuit of Columbine, coupled with his never-to-be vanquished unworldly naïveté—all conspired to lift him out of the circumscribed world of the Commedia dell'Arte and into the larger realm of myth. Much of that mythic quality still adheres to the "sad clown" of the postmodern era.

 

 

Information

 

Bronze ingots are melted to a temperature of approximately 2000°F and poured into the cured ceramic shells.

 

As the sculpture cools the ceramic shell begins to pop away from the bronze.

 

This shell will be completely broken away, using a hammer and chisel, before the superfluous metal materials are cut away.

 

The casting is then sandblasted in preparation for metal finishing.

 

Any pieces of a sculpture that were cast separately are welded back onto the sculpture and any seam lines or other imperfections are removed or "chased".

 

Finally, any texturing that was lost or damaged in the casting or welding process is recreated.

 

The sculpture is then polished in preparation for application of the patina.

 

The various colors, patterns and textures obtained in the patina process are achieved through a combined application of chemicals and heat, augmented by hand stippling, or spraying with an air brush, and sealed with lacquer and waxes.

Done