Cast in Stone

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• Allégories des colonies d'Asie et des colonies d'Afrique, Marseille
  Deux groupes situés au bas de l'escalier monumental de la gare Saint-Charles à Marseille et représentant les colonies d'Asie et les colonies d'Afrique. Chaque groupe est construit autour d'une figure féminine à la pose alanguie avec un enfant couché à ses pieds et un ou une adolescent-e assis-e face à elle et lui présentant une corbeille de fruits. Colonies d'Asie : s'y ajoutent un lion de style khmer, un vase représentant des danseuses (apsaras) et une banquette avec le motif du serpent à 7 têtes. Colonies d'Afrique : s'y ajoutent, une vase, une défense d'ivoire, un figuier de barbarie, deux singes (une mère et son petit), un tronc de palmier et une palme, un crâne de bélier.
• Buste de Charles de Gaulle, Vert-Pré, Le Robert
  Buste de Charles de Gaulle, Vert-Pré, Le Robert
• Buste de Gandhi, Fort-de-France
• Bust of Victor Schœlcher, Basse-Terre
• Equestrian statue of Redvers Buller, Exeter
  Equestrian statue of General Sir Redvers Buller and his horse "Biffen", sculpted by Adrian Jones. The statue was commissioned by the Buller Memorial Committee (established in Exeter in October 1901 after Buller's controversial dismissal from the British Army) and was unveiled in the city in 1905. The statue stands at the junction of Hele Road and New North Road, in between Exeter College and Bury Meadow Park. The statue and its plinth make direct references to Buller's colonial career. The inclusion of Buller's horse Biffen and the line on the plinth, "HE SAVED NATAL", are references to Buller's eventual victory at the relief of Ladysmith on March 1st, 1900 during the Second Boer War of 1899-1902. Other inscriptions on the plinth note the locations where Buller was involved in colonial conflicts, including India, China, Canada, Ashanti (Ghana), Sudan and South Africa. The statue of Buller is unusual in that it is a rare case of an equestrian statue depicting a military general located outside of London. Most statues of this type (which typically depicted either a monarch or a military figure) were usually installed in the metropole at the time, and the statue of Stapleton Cotton in Cheshire is probably the closest artistic counterpart to Buller's statue. Jones had considerable experience in sculpting equestrian statues beforehand, producing works such as Duncan's Horses in 1892 and Persimmon in 1895.
• Maroon Memorial, Sainte-Anne
  The memorial features the wall of a mill, a symbol of the oppressive plantation system, from which emerges a Marron with his leg and ears cut off as a sign of attempted resistance and escape, and on which several symbols of slavery and marronnage are displayed: chains referring to deprivation of freedom; two Chaltounés, torches, used for nocturnal travel; a lambi conch shell, which enabled communication with other slaves; a Ka, drum, which accompanied slaves in their songs and enabled them to perpetuate African music and was a decisive means of communication.
• Monument to Ernest Deproge
  Bust of Ernest Deproge, in frock coat and with a full beard, one of the symbols worn by French Republicans in the late 19th century.
• Monument to Surcouf
  Standing in privateer costume, sword in left hand, Surcouf points to the horizon with his right hand.
• Monument to Villebois-Mareuil
  The monument consists of a base with bas-reliefs and inscriptions, and a statue. The latter depicts Villebois-Mareuil, in colonel's uniform, standing erect, receiving a kiss from a female allegory carrying a moving flag in one hand and supporting it with the other. The movement of the figures represents the moment of the militiaman's death.
• Monument to Doctor Hamy
  The monument in honor of Doctor Hamy consists of a pedestal on which a bronze bust of Ernest Hamy is mounted, and in front of which an allegorical female figure in a long, full dress, holding a skull in her left hand and a measuring instrument in her right. Stylized ethnographic types are engraved on three sides of the pedestal: a Breton woman on the right, a North American First Nations man and an Asian man at the back, and a South American man on the left.
• Monument Christophe Colomb, Guadeloupe
  Buste de Christophe Colomb placé sur une colonne et un socle sur lequel sont fixées deux plaques gravées.
• Monument Victor Schœlcher, Schœlcher
  The statue, created by Martinican sculptor Marie-Thérèse Lung Fou (1909-1981), depicts abolitionist Victor Schœlcher standing in full regalia. The refined, sober work of art deco inspiration honors the memory of the abolitionist politician with dignity. The artist breaks with the paternalistic, colonial vision of older monuments, notably those in Fort-de-France and Cayenne. A plaque on the pedestal recalls the decree of the Provisional Government of March 4, 1848: “No French land shall bear slaves any longer. Victor Schœlcher 1804-1893”.
• Statue of the Abolition of Slavery
  The statue is modelled on the Délivrance statue designed in 1914 by sculptor Emile Guillaume and chosen by the Nantes municipality in 1927 to complement the war memorial installed in 1918. The project takes this statue, arms raised to the sky to signify deliverance, and encircles it in chains symbolizing slavery, from which the enslaved person frees himself.
• Statue of Winston Churchill, Paris
• Statue of Winston Churchill, Paris
  Churchill, wearing a military coat and cap, walks forward leaning on a cane. The statue was directly inspired by a photograph of the November 11, 1944 parade on the Champs Elysées, led by Charles de Gaulle and Winston Churchill. https://histoire-image.org/etudes/defile-11-novembre-1944-champs-elysees
• Statue of Charles Mangin, Paris
• Statue of Edward Colston
  The almost hunched, contemplative figure represents Colston in his maturity. For a likeness, the sculptor may have turned to Jonathan Richardson’s portrait of 1702, a version of which hangs in the Council House. The reclining figure by Rysbrack on Colston’s tomb in All Saints, Corn Street, may also have been useful. The monument shows a younger, more vigorous man, although Rysbrack may well have used the same source. Cassidy’s statue depicts Colston in early eighteenth century clothes […] Three of the side reliefs show apocryphal or symbolic scenes from Colston’s life. One shows Colston distributing alms in the street; another depicts mythical seahorses and tritons pulling an anchor; the third depicts the legend […] of a dolphin plugging a leak in one of Colston’s ships. […] It was this ‘incident’ that is said to have caused Colston to adopt the dolphin as his emblem. Stylised dolphins, with writhing tails and looking more like animated catfish, are at each corner of the pedestal. The fourth panel bears an inscription and the sculptor’s name. (Merritt & Greenacre 2011: 41)
• Statue of Hubert Lyautey, Paris
  Hubert Lyautey se tient debout, le regard fixé au loin. Il est tête nue, en uniforme et avec une longue cape militaire, arborant toutes ses décorations, il tient son épée de la main gauche la pointe vers le bas et son képi dans la main droite.
• Statue of Joseph Gallieni, Paris