The sculpture is a bronze bust of a man, with his head and shoulders captured. The sculpture has a dark brown color with a slightly glossy texture. The man's facial features are deeply etched and abstract, with pronounced textures and angles. The sculpture has a textured and roughly chiseled appearance. The man appears to be wearing a draped garment, suggested by the folds and depth around the neck and shoulder area.
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The sculpture is a bronze bust of a man, with his head and shoulders captured. The sculpture has a dark brown color with a slightly glossy texture. The man's facial features are deeply etched and abstract, with pronounced textures and angles. The sculpture has a textured and roughly chiseled appearance. The man appears to be wearing a draped garment, suggested by the folds and depth around the neck and shoulder area.

National Gallery of Art · Sculpture

Benjamin Delessert

Honoré Daumier

Date
model c. 1832/1835, cast 1929/1930
Medium
bronze
Dimensions
overall: 17.5 x 14.3 x 10.2 cm (6 7/8 x 5 5/8 x 4 in.)
Classification
Sculpture · Bust
Accession number
1943.3.2
Credit line
Rosenwald Collection
Time span
1826 to 1850
Department
CSD

Subjects and terms

  • French
  • European Sculpture of the Nineteenth Century
  • male
  • caricature
  • Realist
  • Delessert, Benjamin
Provenance

Sold 1 July 1930 through (Charles Sessler, Philadelphia) to Lessing Julius Rosenwald, Jenkintown, Pennsylvania;[1] gift 1943 to NGA. [1] Charles Philipon, editor of _La Caricature_, having commissioned and paid Daumier to execute maquettes for a gallery of busts to be printed as lithographs, owned the clay figures outright, and they remained with his family after he died in 1862. They were purchased in 1927 from Philipon's descendants by dealer-publisher Maurice Le Garrec, who commissioned the Barbedienne foundry in Paris to cast the full set of thirty-six figures, twelve busts at a time. The first set was made available by subscription in 1929-1930, the second set apparently in early 1940, and the final set by around 1950. Lessing Rosenwald purchased each of his three groups of twelve shortly after they were made available. The Barbedienne foundry returned the orginal clays and plaster molds to Le Garrec's widow when it ceased operation in the early 1950s. Subsequently Madame Le Garrec commissioned three full sets of the busts from another foundry, Valsuani, and the clays and molds were destroyed when this edition was completed in March 1965. (See the complete discussion of the busts by Suzanne Glover Lindsay in the NGA systematic catalogue, _European Sculpture of the Nineteenth Century_, Washington, D.C., 2000: 119-125.)

Inscription

stamped in wax positive on lower left shoulder, in incised circle: M.L.G [Maurice Le Garrec]; incised on bottom rim at front left: 3/25 A; cold-stamped inside, in incised circle: 3/25

NGA object ID 3214. Collection metadata is reproduced under CC0. This work is included because its NGA published-image record is marked open access; visitors should recheck the source record before substantial reuse.