Plaster sculptures

Sat 27 Jul

ARMEL-BEAUFILS Emile Jean (1882-1952) "The sea wolf" Plaster sculpture of a seated young woman with her arms around her knees. Signed on the base (some chips and dirt). Height 29 cm x Width : 29 cm Irina Vinogradova was the model for this modeled plaster probably produced around 1936, another proof of which is kept at the Mairie de Saint-Briac-sur-Mer (35). The representation of women is central to the work of Armel-Beaufils, a sculptor who also studied at the E.N.S.B.A. in Paris, and who soon exhibited at the Salon des Artistes Français, continuing to do so until 1951. He won a bronze medal in 1914, a silver medal in 1921, and a gold medal in 1924. A prolific artist, he created numerous war memorials (9 between 1917 and 1921) and commemorative statues in Brittany, including the famous tribute to Anatole Le Braz in the Parc des Promenades in Saint Brieuc. Collaborating with Manufacture Henriot from 1929, he produced only 8 models, including "La Pennhérès", "Trois Fillettes de Plougastel" and "Un Jour de Pardon". Bibliography: Devaux Anne-Louise et Yves, "Armel et Zanic Beaufils", Saint-Briac, Editions Namasté, 1996 Philipppe Théallet & Bernard-Jules Verlingue, "Encyclopédie des Céramiques de Quimper", Editions de la Reinette, 2005, Tome IV, pages 21f. for a presentation of the artist.

Sun 28 Jul

Anonymous artist, "The Bedouin sitting on a stone", painted plaster band sculpture, base made from real stone, H. 27 cm.

Sun 28 Jul

Anonymous artist of the 20th century, Mother and daughter, sculpture in plastered and painted fabric, resting on a limestone block forming a base, H. 50 cm.

Tue 30 Jul

JOHN PRANGNELL: A PATINATED PLASTER BUST OF A LADY, 33cm x 15cm On wooden stand with a plaque 'John Prangnell' and dated 1950. With stand: 40cm H

Sat 03 Aug

William LAPARRA (1873-1920) Femme et lévrier Art Déco Bas-relief en plâtre patiné signé en creux 70 x 120 cm William LAPARRA épouse en 1902 à Paris Franciszka Landowski, la sœur du sculpteur Paul Landowski. Il est fort probable que son illustre beau-frère l'initie à la sculpture. Il réalisera en outre les portraits en peinture de Paul et Benjamin Landowski.

Tue 06 Aug

Auguste RODIN (1840-1917) Orpheline Alsacienne, version with tilted head inscribed A. RODIN and bears the apocryphal inscription 98 Terracotta covered with ochre slip. Height Height: 29.5 cm Total height: 37.5 cm. Slight firing crack, a few chips on the marble base. Bibliography: C. Goldscheider, Rodin Catalogue raisonné de l'oeuvre sculptée, t. 1. Paris 1888. P 58 ill Fig 35. P 59. Proof mentioned in the Musée Rodin exhibition catalog "Vers l'Age d'Airain - Rodin en Belgique" 1997. P 113. Conceived in 1870 and realized at a later date, before 1900. This work is included in the Catalogue Critique de l'œuvre sculptée d'Auguste Rodin by the Comité Rodin in collaboration with Galerie Brame & Lorenceau under the direction of Jérôme Le Blay Archive number 2015-4587B. The certificate of inclusion in the Catalogue, dated March 10, 2015 will be given to the purchaser. A certificate from Monsieur Philippe Maréchaux, (on the back of the photograph of the work), dated October 11, 1988 will also be given to the buyer. Origin: Probably : Former collection of French ceramist and painter Taxile Doat (1851-1939), a friend of Rodin whom he frequented at the Manufacture de Sèvres. Sale : Hôtel Drouot, Paris, March 25, 1982, lot 56 Sale : Hôtel Drouot, Paris, December 15, 1982, lot 67 Private collection, France (purchased at above sale) - Acquired by current owner in 1988 In a commentary on the marble work in the Musée des Beaux-Arts de Reims, Marie Hélène Montout-Richard, chief curator, writes: "The model is certainly Rose Beuret, the artist's companion since 1864, unless it is the memory - sometimes evoked but not confirmed - of a young child seen in 1863 in a procession in Strasbourg. Exhibited in 1883 in the galleries of the L'Art magazine on Place de l'Opéra in Paris, the work was described as a "pretty marble dream". Indeed, in addition to its underlying patriotic significance, the figure's main appeal lies in the melancholy it exudes. This mingled sense of nostalgia, combined with the softness and whiteness of the marble, is reinforced by the costume's meticulous lacework. The typical Alsatian headdress, generally recognizable by its rigid knot-like shape, has been judiciously softened here. It caresses the child's head like a protective hand. L'Orpheline Alsacienne, sometimes called Petite Alsacienne or Jeune Alsacienne, was first exhibited in Brussels in 1871, shortly after Rodin's arrival in Belgium. He then spent six years of his youth criss-crossing Flanders in the company of Rose Beuret. There, he studied local art and copied the great masters. This period marked his true affirmation as an artist. Once he achieved fame, he would describe these as "the happiest days of (his) life". Among the thirty or so works presented at fifteen exhibitions, this sculpture was the most successful; the first work to be accepted by a jury (in Ghent, Salon of 1871), it was exhibited several times in different materials (marble, plaster or terracotta). Some differences are apparent in the arrangement of the head, more or less sunken in the drape of the cloak covering the shoulders, the ornaments of the the bow, and the fringed sides. This depiction of a doll-like, melancholy little girl is all the more appealing as its title places it in the imagery recently created by France's loss of Alsace and Lorraine. Presented with an Alsatian headdress, it pays homage to these lost provinces. Critics rave: "a delightful little Alsatian" (Gazette de Bruxelles), "made from nothing, like a pencil sketch, and which many poor devils envy to Charles Buls who acquired it" (La chronique), "exquisitely naive and graceful with its large silk bow placed on the forehead like a butterfly spreading its wings" (L'Écho). In a word, "it's naiveté with grace. The ravishing head of a little girl" (Sulzberger). Exhibited in February 1883, in the salons of "L'Art", Place de l'Opéra, on the occasion of the tombola for the flood victims of Alsace-Lorraine, L'Orpheline Alsacienne was noticed and described as "a pretty marble dream" (Jacques de Biez). Note the difference between the plaster casts and terracottas with the head upright, and the marbles where the head has been tilted over the shoulder, enhancing the figure's sorrowful appearance. The reference marble is in the Musée Rodin (H. 38.5 cm).

After Claude Michel dit CLODION (1738-1814). Bacchanales. Rectangular bronze bas-relief with shaded brown patina, signed lower right. 20.5 x 54 cm.

Early 20th century Italian work in the style of DELLA ROBBIA. Glazed ceramic tondo bas-relief with Venus and Love in white on a blue background. Diam. 27.5 cm (chips and small flakes).

Bronze bowl with central medallion featuring two children. Diam. 11 cm.

19th century Italian school after Arnolfo DI CAMBIO (1245-1302). Saint Peter of Rome holding the keys to Paradise. Bronze with brown patina. Alabaster base marked Tu es Petrus, 1909 . h. off base 8 cm. Damage.

Set of 3 sculptures including: - Don Quixote. Gilded regule. Circular marble base. h. 18.5 cm excluding base. Missing sword. - Peasant ploughing. Gilded regula. Marble base. h. 17 cm off base. Restoration. - Playing faun. Bronze with antique patina. h. 13.5 cm. Instrument missing.

Léon MORICE (1868-ap.1943). Sailor at the helm. Bronze with green patina. Signed. Black marble base. h. excluding base 26 cm. Slight chips to base.

Théodore-François CARTIER (1879-1943). German shepherd with collar. Bronze with brown patina. Signed on the terrace. Foundry stamp. h. 57 cm.

20th century French school. Woman with large veil. Bisque subject. h. 25.5 cm.

Georges-Denys DUTHEIL (1888-1962). The Annamite seamstress. Patinated terra cotta. Signed on the terrace and marked terre cuite d'art on the back. h. 23 cm. Slight chips.

In the taste of Ricardo SORIANO CERDAN (20th century). Standing musketeer. Bronze with medal patina. Wooden base. h. without base 22.5 cm.

20th century school. Deer in regula with brown patina. On an alabaster base. H. 17 cm (without base).

After ROCHARD Irénée (1906-1984). Doe. Bronze proof with brown patina, signed on the terrace. On a wooden base. 33 x 36 x 11.5 cm (without base). (wear and missing patina).

Friedrich GOLDSCHEIDER (1845-1897). Harvester with hat. Large bust in polychrome terra cotta. Signed on the reverse, numbered and located Wien. h. 73 cm. Missing grapes on the pedestal and slight chips.

Laure COUTAN-MONTORGUEIL (1855-c.1915) known as Laure MARTIN. The young singer. Terracotta signed. H. 50 cm (accidents and restorations to the hands).

Gustave POITVIN (early 20th century). Bust of a man in profile. Bronze medallion. Signed and dated 1906. 17.5 x 12 cm.

Pair of bookends in regula with medal patina featuring dogs. Black marble bases. h. 13 cm excluding base. Scratches from use.

Silver-plated bronze subject depicting a male figure. H. 14 cm (oxidation).

Géo MAXIM (1885-1940). Child skier. Bronze with shaded patina. Signed on the back of the child and on the terrace. Marble plinth. h. (excluding plinth) 24 cm.

Juan GARCIA RIPOLLES (1932-). Two-faced footballer. Green patina bronze proof, signed and numbered 55/70. h. 12 cm. On a Plexiglas base marked Lagardère Coupe du Monde 1998.

Italian school of the 20th century. Bust of Eros. Terracotta. Unsigned. h. 30 cm. Wear and tear.

Michel LAUDE (20th century). Don Quixote with book and cat and Sancho Panza. Two pewter proofs signed on the reverse. H. 11.5 and 17 cm.

Nu féminin accroupi. Sculpture en plâtre patiné, signée et numérotée "9/15" en creux sous la base. 16.5 x 15.5 cm.

Thu 29 Aug

Seated woman, Sculpture in black patinated plaster. Height: 14.5 cm

Thu 29 Aug

Sculpture in plaster depicting an archeress hunting. L: 51 cm (chips, accidents)

Thu 29 Aug

Set of sculptures including Boni la jeune fille à la chèvre in plaster + S. Molans lioness in plaster. Two regule dogs are included. Max. length: 45 cm.

LAPEYRE Raphaël Charles, after The Man in the Boat Imitation bronze plaster. Bears a plaque on the wooden terrace inscribed "SOUVENIR DE L'EQUIPE / E.D.F". Scratches 49 x 71.5 x 17.5 cm

FRENCH SCHOOL 19th century Bust of a man in frock coat, green painted plaster proof, on the back Parmentier P.M. 1869. Height: 40 cm - Minor accidents.

MELANI Salvatore (1902-1934) after Dancer, polychrome plaster print, signed on the terrace, Height: 58 - Base: 33 x 15 cm - Small lack on the terrace.

LUNG-FOU Marie-Thérèse (1909-1981) Maternity, patinated plaster print, signed on the back, Height: 29 cm

BARRAL A. (XX) Head of a woman, plaster proof, signed on the side. Height: 29 cm - Chips.

HERANT-BENDERIAN Haïk (1875 - 1944) - WW1 - FIRST WORLD WAR War memorial project "To the children... ". Plaster, signed Herant Benderian and dated -1922 on the right side. Height: 74.50 cm - Terrace size: 30 x 43 cm. Minor accidents, dirt. Note: a project that may not have been approved by a commune, this artist has, for example, created the war memorial for the commune of Savigny-sur-Braye (Loir-et-Cher).

WW1 - FIRST WORLD WAR Plaster memorial stone in the image of a German grave. Photo of a German soldier in uniform in the center, the date 1914 engraved underneath. Height: 16.50 cm - Base dimensions: 10.50 x 5.70 cm. Minor accidents.

Tue 10 Sep

JORDI ALCARAZ I TARRADAS (Calella, Barcelona, 1963). "Bufador", 2007. Plaster sculpture and methacrylate urn, H.C. copy. Signed and justified. Size: 36 x 17 x 17 cm. In "Bufador (Blower)" Alcaraz converts glass into mouldable material: he modifies this material at high temperatures and makes us believe that it has been deformed by the blowing of the sculptural head in captivity. Jordi Alcaraz began his artistic career in the field of sculpture and engraving. He graduated from the Taller de Músics in Barcelona and is a great fan of the plastic arts. He is self-taught in painting, writing and photography. In 2010 he started his project @ para4gatos (on social networks), based on photography, editing exclusively with mobile device applications. During this period he has made around 2000 visual metaphors, and counting. With an ironic tone, he invites the viewer to observation and reflection, to discover the poetry hidden within the most common objects, subjecting them to slight transformations and altering their function, context and habitual uses. During this period he has carried out commissions for major brands such as Schwarzkopf Professional, Harley Davidson and El Terrat de Producciones. His work has been exhibited in galleries in Pamplona, Lisbon, Bilbao and Barcelona. His musical training has led him to work for different groups of the Barcelona music scene such as Zulu 9:30, Pablo Selnik Cuarteto, Eufuria, Sexteto Guardiola, etc .... He currently collaborates with "El Periódico de Cataluña" taking different photographs, always with a poetic tone, about national current affairs. Mayka Navarro, a Barcelona journalist with a long career, defined his work very aptly: "Each image of this virtual photographer from Barcelona is an accurate punch to the senses. Jordi Alcaraz reconverts reality into committed messages that come to life and move us. Everyday objects are transformed into animated information capsules that concentrate so much intensity that sometimes it seems as if they are alive and will come running out at any moment. Since its beginnings, throughout these twenty-five years of activity, he has held numerous solo and group exhibitions in Spain, Belgium, Germany, Italy, Canada and Switzerland, and has been present at some of the most important fairs on the international contemporary art circuit (Arco, Art Basel, Art Frankfurt, Art Cologne, Art Chicago, Art Miami and Arte Lisboa, among others). He is currently represented at the Centre Cultural Contemporani Pelaires in Palma de Mallorca, as well as in various private collections around the world.

Tue 10 Sep

PATRICIA DAUDER (Barcelona, 1973). "Sobreposició II (House)". 2007. Collage and color pencil on tracing paper. With label on the back from Projectes D gallery. Certificate on the back by the artist. Measurements: 90 x 120 cm. In "Sobreposició", Patricia Dauder evokes the memory linked to the domestic space. With a suggestive language close to minimalism and lyrical abstraction, Dauder experiments with form and matter as a reflection on the passage of time and the idea of space. Presence and absence, the whole and the fragment, the mass and the void, the residue and the trace, are concepts that resonate in her proposals. Trained in Fine Arts at the University of Barcelona and with stays in Holland, New York and Prague, she lives and works in Barcelona. She uses different media: drawing, sculpture, textiles, film and photography. In her work, of a markedly processual character, travel plays a prominent role, as well as the culture of the sea and the idea of nature. The artist claims more direct and essential forms of relationship with the natural environment, a claim that is embodied both in her travels and in her chromatic choices, in her physical and artisanal relationship with materials (paper, graphite, cardboard, fabrics, plaster, wood, air, earth). Dauder creates and destroys, traces and erases, adds and eliminates, until he molds refined pieces with an abstract appearance that, in their ambiguity, end up projecting multiple associations and iconographies. Since the late 1990s, his work has been exhibited in venues such as the Museu de l'Empordà in Figueres (2008), Fundació Suñol in Barcelona (2009), Museu de Serralves in Porto (2012), MARCO in Vigo (2015) and National Gallery in Prague (2018). His work can be found in collections such as the Centro Andaluz de Arte Contemporáneo in Seville, Coleçao Fundaçao Serralves in Oporto, Colección CAM de Arte Contemporáneo in Alicante, Fundació Vila Casas in Barcelona, Centro Galego de Arte Contemporánea in Santiago de Compostela, Chartwell Collection in Auckland, New Zealand and MACBA in Barcelona, among others.

Tue 10 Sep

PATRICIA DAUDER (Barcelona, 1973). "Untitled (Verd-vermell)".2008. Colored pencils on paper. With label on the back of the gallery Projectes D. Measurements: 91 x 124 cm. With a suggestive language close to minimalism and lyrical abstraction, Dauder experiments with form and matter as a reflection on the passage of time and the idea of space. Presence and absence, the whole and the fragment, the mass and the void, the residue and the trace, are concepts that resonate in her proposals. Trained in Fine Arts at the University of Barcelona and with stays in Holland, New York and Prague, she lives and works in Barcelona. She uses different media: drawing, sculpture, textiles, film and photography. In her work, of a markedly processual character, travel plays a prominent role, as well as the culture of the sea and the idea of nature. The artist claims more direct and essential forms of relationship with the natural environment, a claim that is embodied both in her travels and in her chromatic choices, in her physical and artisanal relationship with materials (paper, graphite, cardboard, fabrics, plaster, wood, air, earth). Dauder creates and destroys, traces and erases, adds and eliminates, until he molds refined pieces with an abstract appearance that, in their ambiguity, end up projecting multiple associations and iconographies. Since the late 1990s, his work has been exhibited in venues such as the Museu de l'Empordà in Figueres (2008), Fundació Suñol in Barcelona (2009), Museu de Serralves in Porto (2012), MARCO in Vigo (2015) and National Gallery in Prague (2018). His work can be found in collections such as the Centro Andaluz de Arte Contemporáneo in Seville, Coleçao Fundaçao Serralves in Oporto, Colección CAM de Arte Contemporáneo in Alicante, Fundació Vila Casas in Barcelona, Centro Galego de Arte Contemporánea in Santiago de Compostela, Chartwell Collection in Auckland, New Zealand and MACBA in Barcelona, among others.

Tue 10 Sep

PATRICIA DAUDER (Barcelona, 1973). "Untitled (Paisaje gris)".2005. Charcoal on paper. With label on the back of the gallery Projectes D. Measurements: 130 x 100 cm; 150 x 120 cm (frame). Patricia Dauder often precedes the titles with the premise "Untitled", which is a declaration of intentions: not wanting to limit and direct the emotions that the viewer will feel before (in this case) a "gray landscape" (rain, leaden mood ...) With a suggestive language close to minimalism and lyrical abstraction, Dauder experiments with form and matter as a reflection on the passage of time and the idea of space. Presence and absence, the whole and the fragment, the mass and the void, the residue and the trace, are concepts that resonate in her proposals. Trained in Fine Arts at the University of Barcelona and with stays in Holland, New York and Prague, she lives and works in Barcelona. She uses different media: drawing, sculpture, textiles, film and photography. In her work, of a markedly processual character, travel plays a prominent role, as well as the culture of the sea and the idea of nature. The artist claims more direct and essential forms of relationship with the natural environment, a claim that is embodied both in her travels and in her chromatic choices, in her physical and artisanal relationship with materials (paper, graphite, cardboard, fabrics, plaster, wood, air, earth). Dauder creates and destroys, traces and erases, adds and eliminates, until he molds refined pieces with an abstract appearance that, in their ambiguity, end up projecting multiple associations and iconographies. Since the late 1990s, his work has been exhibited in venues such as the Museu de l'Empordà in Figueres (2008), Fundació Suñol in Barcelona (2009), Museu de Serralves in Porto (2012), MARCO in Vigo (2015) and National Gallery in Prague (2018). His work can be found in collections such as the Centro Andaluz de Arte Contemporáneo in Seville, Coleçao Fundaçao Serralves in Oporto, Colección CAM de Arte Contemporáneo in Alicante, Fundació Vila Casas in Barcelona, Centro Galego de Arte Contemporánea in Santiago de Compostela, Chartwell Collection in Auckland, New Zealand and MACBA in Barcelona, among others.

CARPEAUX Jean-Baptiste, 1827-1875 Suzanne surprise plaster with beige patina, Susse frères éditeurs Paris (missing patina, traces of wear) on the terrace: JB Carpeaux and publisher's marks Height: 66.5 cm

CORNET Paul, attributed to Large bather with sheet plaster cast with light beige patina (transfer nails, transfer marks, small accidents and stains) unsigned Total height: 210 cm PROVENANCE: Artist's studio - passed down through the artist's family We would like to thank the artist's family for the information they provided. NB: this lot is to be collected from our storage facility in St Ouen.

DAUTEL Pierre Victor (1873-1951) - WW1 Reunion of two plaster medal dies: - Clémenceau in right profile, exergue PATIENCE - EFFORT - CONFIANCE / RF, signed with monogram, located and dated Nantes 1916, lower left. Diameter: 13.60 cm. Patina, small chips on the edge. - FRANCE, allegory, a peasant woman in the foreground, a landscape in the background, a steeple on the left. Size: 10.80 x 8.60 cm. Patina, small chips on edge. A worn plaster medal is attached.

DAUTEL Pierre Victor (1873-1951) Self-portrait, plaster medal matrix, titled on the left, located and dated Ancenis - 1941 below, diameter: 22.80 cm

DAUTEL Pierre Victor (1873-1951) Reunion of two plaster medal dies: - Pierre de Ronsard, bust in right profile, 1524-1585. Sbd. Diameter: 15 cm. - Jean-Baptiste Chardin, in three-quarter bust, 1699-1779. Monogram on the right. Diameter: 15.80 cm. Patina, small chips at 3 and 8 o'clock.

Mon 16 Sep

C. HABOCK. Lola. Female bust in polychrome plaster. H. 63 cm.

Tue 24 Sep

Plaster bust on pedestal: portrait of a woman in the Directoire style.

Wed 25 Sep

Anton PRINNER (1902-1983) Double figure, 1937 Plaster. H. 45 cm Restored accident Related literature: Shepherd & Derom Galleries, Hungarian Modernism, April 29-July 2, 2010, model listed under no. 21; Anton Prinner, cat. exp. exhibition, Les Sables d'Olonne, musée de l'Abbaye Sainte-Croix, Paris, Panama Musées, 2006, plaster model reproduced p. 94, bronze model reproduced p. 132. Of Hungarian origin, Anna Prinner began her artistic training at the Budapest School of Fine Arts before moving to Paris in 1927, where she adopted the first name Anton. She studied sculpture in Stanley William Hayter's studio, where she produced her first reliefs. Close to contemporary artists such as Picasso and Csaky, she exhibited in the Paris galleries of Jeanne Bucher and Pierre Loeb. After the Second World War, Anton Prinner abandoned sculpture for ceramics and painting.