Plaster sculptures

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Georg Kolbe, 1877 Waldheim-1947 Berlin, #'Ringkampf#' or #'Man and woman, wrestling with each other#', bronze sculpture after the orig. Plaster model of 1913, on octagonal plinth monogrammed #'GK#' caster stamp #'H. Noack Berlin#', brownish patinated, 35.5x29x16.5 cm; The present plastic is one oftwo existing forms of a fountain design for the Werkbund exhibition in Cologne 1914; the counterpart of cement has been located since 2011 in Georg-Kolbe-Museum (Inv.No. Gi353); dynamic figure group with standing motif in extreme tension; The composition, which was provocative at the time of its creation, can be seen in a series with Kolbe's #'Liebeskampf#' and the two #'Amazon#'; with accompanying letter woman Dr. Ursel Berger from September 2011

Estim. 40 000 - 60 000 EUR

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).

Estim. 80 000 - 100 000 EUR

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.

Estim. 4 000 - 5 000 EUR

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.

Estim. 3 500 - 4 000 EUR

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.

Estim. 3 500 - 4 000 EUR

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.

Estim. 5 000 - 5 500 EUR