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Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.
Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.
Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.
Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.
Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.
Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.
Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.
Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.
Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.
Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.

Antonin MERCIE (1845-1916) - David victorious over Goliath Bronze late 19th century, cast by F. Barbedienne.

Antonin MERCIE (1845-1916)

'David the Victor over Goliath'*

Bronze proof with a nuanced brown-chocolate patina.

Old edition casting signed 'A Mercié' on the base and mention of the founder 'F. Barbedienne' on the perimeter.

Mounted on a rotating base of round marble. Commemorative plaque 'To Mr HERVIEU / the Direction of Customs of La Rochelle Offices and Brigades / 1887-1897).

France, late 19th century, circa 1890.

Good condition, beautiful proof,

Dimensions: Height 83 cm (including marble base 10 cm)

*History of the work: 

The David was created in 1869 by Antonin Mercié, while he was a resident at the Academy of Rome in France. He thus wishes to renew the representation of this famous biblical episode recounting the victory in duel of the young shepherd David over the giant Goliath, while drawing his inspiration from the great bronze artists of the Florentine Renaissance, such as Donatello or Verrochio.

It was presented at the Salon after the 1870 war and immediately won great success due to the elegance of its pose and the firmness of its modeling, but also because it then represented a symbol of hope for a future revenge of France on Prussia.

(source Musée d'Orsay)


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