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Details about  Signed Jean Baptiste Carpeaux Saint George and Dragon Bronze Sculpture Statue

Signed Jean Baptiste Carpeaux Saint George and Dragon Bronze Sculpture Statue See original listing
Signed-Jean-Baptiste-Carpeaux-Saint-George-and-Dragon-Bronze-Sculpture-Statue
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Ended:
24 May, 2012 07:18:20 BST
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US $299.00
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Item location:
Mineola, NY, United States

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Description

eBay item number:
261020080783
Seller assumes all responsibility for this listing.

Item specifics

Listed By:

Dealer or Reseller

Type:

Figurines & Statues

Medium:

Bronze

Primary Material:

Bronze

Largest Dimension:

Less than 12"

Age:

Post-1940

Region of Origin:

Europe

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Signed Jean Baptiste Carpeaux Saint George and Dragon Bronze Sculpture Statue

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Description

Condition: This sculpture is in perfect condition.
Bronze Dimensions with Marble Base:Height 9" x Width 5"
Marble Dimensions: 5" X 3 1/2"

Height without base: 8"
Weight : 6 LBS
Inventory; 71-Y0654017

This astonishing piece of saint George and the dragon is a work of art and a one of a kind. Beautifully made with amazing details this sculpture is a historic piece. This heavy sculpture is made from solid bronze and was casted using the "Lost Wax Method".  It has a brown patina and is mounted atop of a round black marble base, Signed by Carpeaux.

According to the Golden Legend the narrative episode of Saint George and the Dragon took place in a place he called "Silene," in Libya; the Golden Legend is the first to place this legend in Libya as a sufficiently exotic locale, where a dragon might be imagined. In the tenth-century Georgian narrative, the place is the fictional city of Lasia, and it is the godless Emperor who is Selinus.[7]
The town had a pond, as large as a lake, where a plague-bearing dragon dwelled that envenomed all the countryside. To appease the dragon, the people of Silene used to feed it two sheep every day, and when the sheep failed, they fed it their children, chosen by lottery. It happened that the lot fell on the king's daughter, who is in some versions of the story called Sabra.[8] The king, distraught with grief, told the people they could have all his gold and silver and half of his kingdom if his daughter were spared; the people refused. The daughter was sent out to the lake, decked out as a bride, to be fed to the dragon. Saint George by chance rode past the lake. The princess, trembling, sought to send him away, but George vowed to remain. The dragon reared out of the lake while they were conversing. Saint George fortified himself with the Sign of the Cross,[9] charged it on horseback with his lance and gave it a grievous wound. Then he called to the princess to throw him her girdle, and he put it around the dragon's neck. When she did so, the dragon followed the girl like a meek beast on a leash. She and Saint George led the dragon back to the city of Silene, where it terrified the people at its approach. But Saint George called out to them, saying that if they consented to become Christians and be baptised, he would slay the dragon before them. The king and the people of Silene converted to Christianity, George slew the dragon, and the body was carted out of the city on four ox-carts. "Fifteen thousand men baptized, without women and children." On the site where the dragon died, the king built a church to the Blessed Virgin Mary and Saint George, and from its altar a spring arose whose waters cured all disease. Traditionally, the sword[11] with which St. George slew the dragon was called Ascalon, a name recalling the city of Ashkelon, Israel. From this tradition, the name Ascalon was used by Winston Churchill for his personal aircraft during World War II (records at Bletchley Park), since St. George is the Patron


Jean-Baptiste Carpeaux (May 11, 1827 – October 12, 1875) was a French sculptor and painter.
Born in Valenciennes, Nord, son of a mason, his early studies were under François Rude. Carpeaux entered the Ecole des Beaux-Arts in 1844 and won the Prix de Rome in 1854, and moving to Rome to find inspiration, he there studied the works of Michelangelo, Donatello and Verrocchio. Staying in Rome from 1854 to 1861, he obtained a taste for movement and spontaneity, which he joined with the great principles of baroque art. Carpeaux sought real life subjects in the streets and broke with the classical tradition.
While a student in Rome, Carpeaux submitted a plaster version of Pêcheur napolitain à la coquille, the Neapolitan Fisherboy, to the French Academy. He carved the marble version several years later, showing it in the Salon exhibition of 1863. It was purchased for Napoleon III's empress, Eugènie. The statue of the young smiling boy was very popular, and Carpeaux created a number of reproductions and variations in marble and bronze. There is a copy, for instance, in the Samuel H. Kress Collection in the National Gallery of Art in Washington D.C.. Some years later, he carved the Girl with a Shell, a very similar study.


The Art of Lost Wax

The Art of Lost Wax Lost wax casting has been around for thousands of years, yet few people understand how the process actually works.

Although mechanization has facilitated the lost wax process of bronze casting, the procedure is basically the same as that used by the Chinese when they first developed the process in the 2nd millennium BC.


The Rubber Mold

The Rubber Mold First the artist creates an original sculpture out of any number of media, including stone, wax, clay, wood and pottery.

This image is coated with a silicone rubber molding material that makes two rubber mold halves (each rubber mold has a front and a back piece). A fiberglass outer shell is added to the back of each mold so it retains its shape and rigidity during subsequent uses.

These molds are the only components that are ever re-used in the casting process. All other components are re-created for each casting.


The Wax Positive

The Wax Positive Once the molds are done, the insides are coated with layers of wax. The halves are then bound together and wax poured inside to complete the wax image being created.

Once the wax has cooled, the mold is peeled away, yielding a wax image (the wax positive") duplicating the original sculpture.

This image must then be "touched -up" to remove any seam lines, scratches or other flaws, as well as to recreate any pattern or texturing that was lost or damaged when the wax was made.

The quality of the finished bronze relies on a clean, high quality mold and an impeccably recreated wax image that is as near to perfect as possible.


Gating

Gating The next step, "gating", is the application of a series of tubes and funnels that allow the molten bronze to flow through to the bottom of the ceramic shell and the hot gases to escape at the same time.

These sprus are created by attaching wax rods to the finished wax form at strategically spaced locations.


Ceramic Shell Casting

Silca-Sand Coating

After the gating is completed each wax form is dipped in a liquid ceramic silica-sand compound so it is completely coated inside and out. Holes called "patches" have been cut into the wax to allow an entrance to the inside of the form.

The form is subsequently dipped 6 to 12 or more times over a period of several days until the desired shell thickness is achieved.


Lost Wax

Once these ceramic shells have dried thoroughly the pieces are placed into an autoclave and the wax is melted out (hence the term "lost wax"), to be reclaimed and used again. The shells are then cured in a kiln so they will withstand the temperature of the molten bronze being poured into them.


The Pour

The Pour 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.


Sandblasting

Sandblasting 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".


Texturing

Texturing 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.


Patinas

Patinas The different colored finishes that are possible on cast bronze sculptures are called patina's.

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.


Limited Editions

Most bronzes are part of a "limited edition" containing a fixed number of castings.

This edition number is decided by the artist, usually after the first piece has been cast, and individually stamped on each piece (i.e. 1/100) thus concluding the process of bronze sculpture production.


Our Return Policy

We're certain you'll be happy with your merchandise. We take extra care to fully describe our items, including any flaws. If you have any questions about the item(s) you are ordering, please use our question form to ask us about the item before placing your order.

If that rare occasion arises where you feel you must return an item, please contact us by calling 516-280-8072 for return instructions within Fifteen (15) days (by phone or email) of receipt of your item(s). Upon our receipt and inspection of the returned item(s), we will issue a refund for your item(s) if returned in the same condition as sent to you, excluding any shipping/insurance costs for which you were responsible. Buyer is responsible for return shipping/insurance costs, which will not be reimbursed for any reason. Returned merchandise must be received by us within seven (7) days of the date from which you contact us regarding the return.

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Your item will be shipped to you within three (3) business days of the receipt of your payment. We ship our items by Fedex or USPS, and at best rates, using new, high quality materials.

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