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Have a similar work? We are always looking for exceptional sculpture and paintings either for purchase or to represent on consignment. Email with photos, provenance and details on the piece.

Hippolyte Peyrol was a student of Antoine-Louis Barye and started his foundry at 14 Rue de Crussol in Paris where he became the primary caster of works for artists in the family. He married Juliette Bonheur, sister of Isidore and Rosa Bonheur and had a son, Francois Auguste Hippolyte Peyrol, born in 1856. Francois studied under Isidore Bonheur as well as Tabard and Frenne, first exhibiting at Salon in 1880. He was awarded honorable mention at the Salon des Artistes Francais in 1883, 1886 and 1892, achieving a second-class metal in 1892 and first class in 1894. In 1908 he was awarded the Chevalier of the Legion d’Honneur. Much of his work was focused around animal subjects. 

Literature and References: 

  • "Bronzes of the Nineteenth Century, Dictionary of Sculptors", Kjellberg, p. 662, p. 541
  • E. Benezit Dictionary of Artists”, Vol. X, Gründ, 2006, p. 1294

Locating the foundry mark can be a bit difficult, but it is an important part of authenticating a bronze executed by the Peyrol foundry.  The best place to find these are on the back vertical edge of the base rim.  Below are numerous examples of the foundry mark from bronzes handled by our gallery.

 Rosa Bonheur Peyrol Foundry Mark
 Isidore Bonheur Peyrol Foundry Mark
 Rosa Bonheur Bull Bronze with Peyrol Foundry Mark

While there is consistency in the casting techniques of Peyrol bronzes, just as notable is the broad spectrum of joinery techniques his foundry chose to use when putting the final work together.  Two sculptures of Rosa Bonheur's Taureau Beuglant are shown below, an early example with an entirely finished underside complete with ground rods; the second of identical size but a later model, this with threaded rods attaching the bull's feet through the base, affixed with washers and nuts. 

While these unseen parts are often left untouched by foundries, with bits of plaster, vents and rods often simple left inside of the work, pieces cast by Peyrol tend to be completely finished on the underside and sometimes include partial gilding or blackening of the bronze.  One relatively consistent attribute in the joinery of Peyrol sculptures is a peened joinery instead of the more traditional threaded-rod and handcut nut of his contemporaries.  Note below on Isidore Bonheur's sculpture Merino Ram & Ewe a conical peen to the rods beneath the sculpture; this is not typical, most peening left relatively rough and sometimes patinated to match the rest of the underside of the base.  


 Rosa Bonheur Bull Cast by Peyrol Foundry
fig. 1: "Boeuf Couché" by Rosa Bonheur
 Isidore Bonheur Bronze Sculpture by Peyrol
fig. 2: "Merino Ram & Ewe" by Isidore Bonheur
 Isidore Bonheur Bronze Sculpture Close Up
fig. 3: "Merino Ram & Ewe" by Isidore Bonheur
 Rosa Bonheur Bronze Bull by Peyrol Foundry
fig. 4: "Taureau Beuglant" by Rosa Bonheur
 Rosa Bonheur Bronze Sculpture Taureau Beuglant by Peyrol
fig. 5: "Taureau Beuglant" by Rosa Bonheur; note the somewhat later casting of this model with the more traditional
hand-cut nuts and threaded rods backed by washers (perhaps added)
 Bonheur Bronze Sculpture of a Ram
fig. 6: "Standing Ram" by Isidore Bonheur
 Isidore Bonheur Bronze Sculpture of Spanish Rider, Peyrol
fig. 7: "Spanish Rider on Mule" by Isidore Bonheur
 Bronze Sculpture by Hippolyte Peyrol
fig. 8: Study of a laborer by Hippolyte Peyrol, cast by Peyrol