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Statuette - A Captive

A Captive

  • Object:

    Statuette

  • Place of origin:

    France (made)

  • Date:

    1660-1700 (made)

  • Artist/Maker:

    unknown (production)

  • Materials and Techniques:

    Bronze with patina

  • Credit Line:

    Given by Dr W. L. Hildburgh FSA

  • Museum number:

    A.20-1950

  • Gallery location:

    Sculpture, room 111, case 4

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Patination is the process of artificially colouring the surface of the metal or changing its appearance. True patina is created by chemical changes to the surface through long exposure to the elements. Artificial patina is created through the application of drying oils, resins, pigments or acids to protect the surface or to enhance or change the colour of the metal. Heat is sometimes used in this process. The surface can also be enriched by adding gold (‘gilding’) or silver. The yellow-gold patina achieved here is typical of French bronzes of the period. They were intended to imitate the finish of contemporary Florentine bronzes. It may have originally been part of furniture or a clock.

France colonised islands in the West Indies in the 17th century, with the aim of transforming them into profitable sugar-producing economies fuelled by the labour of enslaved Africans. French involvement in the transatlantic trade continued to grow over the following century, but in 1791 there was a massive slave revolt in Saint-Domingue, one of the most profitable colonies. On 1 January 1804, the territory became Haiti, the first black republic.

This decorative bronze figure was made in France in the 1660s, during the reign of Louis XIV, whose chief minister, Jean-Baptiste Colbert, was the architect of French colonial policy. The figure is probably one of a pair made to embellish a clock or a piece of furniture. Its pose - on one knee, with the wrists manacled together and the face uplifted in an attitude of supplication - clearly identifies the figure as a slave. The 'native' dress, with feathered headdress, shield, quiver and arrow, and a skirtcloth with a decorative waistband, suggests that it may represent one of the Four Continents, who were often shown as female figures. However, as slavery spread throughout the New World, these accoutrements became synonymous with the depiction of slaves.'

Physical description

The captive negro, with manacled wrists held in front, kneels on his left knee (under which is a shield, quiver and arrow), and is looking to the right. He wears a feathered head-dress and skirt (with decorated waistband), and a drapery over his right knee.

Place of Origin

France (made)

Date

1660-1700 (made)

Artist/maker

unknown (production)

Materials and Techniques

Bronze with patina

Dimensions

Height: 22.2 cm

Object history note

Given by Dr. W. L. Hildburgh, F. S. A.

Descriptive line

Statuette, bronze with patina, A Captive, French, ca. 1660-1700

Labels and date

Text written about this object for 'Uncomfortable Truths / Traces of the Trade' gallery trails (Trail 4: 'Representing Slavery & Abolitionism'), 20 February - 31 December 2007. Helen Mears & Janet Browne.

'A CAPTIVE / France colonised islands in the West Indies in the 17th century, with the aim of transforming them into profitable sugar-producing economies fuelled by the labour of enslaved Africans. French involvement in the transatlantic trade continued to grow over the following century, but in 1791 there was a massive slave revolt in Saint-Domingue, one of the most profitable colonies. On 1 January 1804, the territory became Haiti, the first black republic.

This decorative bronze figure was made in France in the 1660s, during the reign of Louis XIV, whose chief minister, Jean-Baptiste Colbert, was the architect of French colonial policy. The figure is probably one of a pair made to embellish a clock or a piece of furniture. Its pose - on one knee, with the wrists manacled together and the face uplifted in an attitude of supplication - clearly identifies the figure as a slave. The 'native' dress, with feathered headdress, shield, quiver and arrow, and a skirtcloth with a decorative waistband, suggests that it may represent one of the Four Continents, who were often shown as female figures. However, as slavery spread throughout the New World, these accoutrements became synonymous with the depiction of slaves.' [20/02/2007]

Materials

Bronze

Subjects depicted

Shield; Arrow; Quiver

Categories

Sculpture; Arms & Armour; Black History; Slavery & Abolitionism

Collection code

SCP

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Qr_O89219
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