{"id":10732,"date":"2025-03-25T14:36:18","date_gmt":"2025-03-25T13:36:18","guid":{"rendered":"https:\/\/www.galerienicolasbourriaud.com\/produit\/coq-de-combat-1928\/"},"modified":"2025-03-25T14:41:55","modified_gmt":"2025-03-25T13:41:55","slug":"coq-de-combat-1928","status":"publish","type":"product","link":"https:\/\/www.galerienicolasbourriaud.com\/en\/produit\/coq-de-combat-1928\/","title":{"rendered":"FIGHTING ROOSTER (1928)"},"content":{"rendered":"

The\u00a0Fighting Rooster<\/em>\u00a0model was first exhibited in wood at the Salon d\u2019Automne in 1928. Gaston Le Bourgeois, though adept in various materials such as stone, ivory, cement, and lead foil, favored hardwood. Animals, especially those from his surroundings, served as frequent subjects in his work. However, only a few of his animal models, including the\u00a0Fighting Rooster,<\/em>\u00a0were also cast in bronze.<\/p>\n

A perfectionist, Le Bourgeois approached each material with respect for its unique qualities. For wood, his technique involved layering planes, whereas bronze demanded bold volumes to enhance the interplay of light and shadow. The\u00a0Fighting Rooster,<\/em>\u00a0with its geometric structure and dynamic form, was an ideal subject for both mediums.<\/p>\n

From the rooster\u2019s upright head, long and muscular neck, and inclined, sculptured body framed by tightly held wings and a broad chest, to its sturdy legs with sharp spurs and a sweeping, curved tail, the composition exudes both elegance and strength. The artist\u2019s meticulous study of the rooster allowed him to simplify its form while preserving its proud, combative expression, the quintessential \u201cking of the farmyard.\u201d<\/p>\n

The bronze is crafted to evoke the gouge work of wood, achieving a delicate interplay of shadows and light that vibrates across the surface. Determined to oversee the bronze casting process, he turned to the Maison Colin, a foundry known for its innovative, contemporary approach. Colin allowed Le Bourgeois to adapt its chasing workshop and tools to suit his needs, ensuring every detail met his exacting standards.<\/p>\n

The artist also personally supervised the patination process, using a blowtorch to achieve the rich, warm brown tones seen in this piece. Similarly, he paid close attention to the bases of his sculptures, choosing materials like marble or bronze to harmonize with the artwork\u2019s proportions and colors. The present example numbered 6 is mounted on a mahogany obsidian base that beautifully complements its patina.<\/p>\n

Le Bourgeois\u2019\u00a0Fighting Rooster<\/em>\u00a0represents a masterful synthesis of form, material, and technique, a testament to his artistry and devotion to his craft.<\/p>\n

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Gaston Etienne LE BOURGEOIS \u00a0\u00a0<\/span>\"page1image37504320\"<\/h1>\n
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Hammered bronze with rich brown patina, signed with the artist\u2019s monogram \u201cGLB\u201d in a circle and numbered 6\/15
\nCast by Colin, unmarked
\nH. 25\u00be x W. 16\u00bd x D. \u00bd in.<\/p>\n

Mahogany obsidian quadrangular base: H. 2\u00be x W. 12\u00bc x D. 8\u00bd in.<\/p>\n

Circa 1930<\/p>\n

Exhibition :\u00a0Salon d\u2019Automne, 1928.<\/p>\n

Related works :\u00a0Paris, Mus\u00e9e des Arts D\u00e9coratifs, mahogany model, no. 2016.65.1.<\/p>\n

Bibliography : L\u00e9on Werth, \u201cLe XXV\u00e8me Salon d\u2019Automne,\u201d\u00a0Art & D\u00e9coration,<\/em>\u00a0December 1928, wooden model reproduced, p. 175; Gaston Le Bourgeois, 1880\u20131956,<\/em>\u00a0exhibition catalog, Biblioth\u00e8que Florian de Rambouillet, Rambouillet, 1996, wooden model referenced and reproduced, no. 21 (n.p.); C. Saunier,\u00a0Le Bourgeois,<\/em>\u00a0(s.n.), (s.l.n.d.); Les arts de France,<\/em>\u00a0no. 7, January 1930, bronze model reproduced, p. 15; Yvan Rambosson,\u00a0Le Bourgeois,<\/em>\u00a0(s.n.), (s.l.n.d.), model reproduced (n.p.); VP, \u201cLes expositions: Les bronzes de Le Bourgeois,\u201d\u00a0Gazette des Beaux-Arts,<\/em>\u00a0February 1, 1928, p. 11\u201312.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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