• Descendants of Laurent Delvaux by way of succession.
• Brussels, Camille Bricourt (1878-1880)
• Brussels, Jules ‘t Serstevens-Bricourt (1914)

• E. Fiévet, Notice sur la vie et les ouvrages du sculpteur Laurent Delvaux, 1878, p. 19 (rééd. 1880)

• E. Fiévet, « Catalogue des oeuvres de Laurent Delvaux », Annales de la Société archéologique de l’Arrondissement de Nivelles, I, 1879, p. 111

• G. Willame, Laurent Delvaux : Gand 1696 - Nivelles 1778, Paris-Bruxelles, 1914, p. 57

• Ch.-E. de Schaetzen van Brienen, Laurent Delvaux : Gand 1696 - Nivelles 1778. Un sculpteur des Pays-Bas autrichiens. Thèse non publiée de l’Institut Supérieur d’Histoire de l’Art et d’Archéologie de Bruxelles, 1988-1989, p. 63

• A. Jacobs, Laurent Delvaux : Gand 1696 - Nivelles 1778, Paris, Arthena, 1999, p. 459 et ss, n° S 272.

In this terracotta study depicting the head of Hercules, the full talent of Laurent Delvaux awakens. Through lively and sensitive modeling, the artist captures the hero’s energy. This preparatory study already reveals the character that will animate the monumental statue of Hercules at the Brussels Palace.
A protégé of Charles-Alexandre de Lorraine, Governor General of the Austrian Netherlands, Laurent Delvaux became court sculptor after creating the prince’s portrait in a medallion (1750). Charles-Alexandre de Lorraine, an art and science enthusiast, entrusted him in 1768 with his most prestigious commission: a colossal Hercules for the Brussels Palace. The sculptor drew inspiration from the Farnese Hercules, which he had studied in Rome, but radically transformed its interpretation. He abandoned the ancient weariness in favor of a powerful figure, symbolizing
the prince’s grandeur. Completed in 1770, the statue was acclaimed from its inauguration.
The creation of this study reflects an exceptionally rigorous design process, evidenced by the existence of several other preparatory terracotta works. The artist subtly captures the hero’s energetic and determined expression. The modeling also demonstrates great finesse in the treatment of the fleshy softness of the face and the animation of the curly hair. This sketch, which can be understood as a portrait, attests that, despite advancing age, Delvaux retained the full extent of his skill and rigorous mastery of the art of modeling. It embodies the perfect balance between expressive sensitivity and technical virtuosity that characterizes his entire body of work.

Full study and price upon request.