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Terracotta sculptures

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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

Thu 26 Sep

Extensive documentation on earthenware Extensive documentation on earthenware, including : - B.J Verlingue and J. Glérant, Odetta, Musée de la faïence de Quimper, 1999. - C. Soudée Lacombe, Les faïences de Sinceny, 1737-1887, Musée de Laon, 1993 - Les pots de pharmacie, Paris et l'île de France, Dacosta, 1981. - C. De la Hubaudière, C. Soudée Lacombe, L'art de la faïence de Caussy, Lilou, (with CD), 2007. - Faïence de Marseille et de Saint Jean du Désert", exhibition catalog, 1985. - M. Desnuelle, La faïence de Marseille au XVIIe siècle, Aubanel, 1984. - Les plaques en faïence de Delft", catalog, 1989. - C. Massin, S. de Plas "Faience de Rouen du nord et de la région parisienne", - Faïences du nord (3 volumes), ABC collection, 1979. - Faïences de Nevers, ABC collection, 1984. - Poteries grès et faïences du center est, ABC collection, 1991. - Faïences de Rouen, ABC Collection, 1985. - Les Faïences de Moustiers, Musé de Sèvres, musée national de la céramique, Limoges Musée Adrien Doubouché Ministère de la culture et de la communiation, 1988. - La faïence de Meillonnas, 1760-1845, exhibition catalog 1993. - Dauguet, Reconnaître l'origine des faïences française, Massin, circa 1990. - Tumin Collection, sale catalog 1936. - Faïence de Sinceny 1737, 1775, collection catalog, Lille Morel, 1990. - R. Dacosta, Les pots de pharmacie, Rouen et la Normandie la Picardie et la Bretagne, Dacosta, 1982. - E. Mannoni, Les faïences révolutionnaires, Massin, 1989. - Céramiques I.Musée du petit palais1984. - J-D. Picard, "Voyage vers les apothicaireries françaises", Editions de l'amateur, 2004. - H-P Fourest, La Faïence de Delft, Office du livre Fribourg, 1980. - A. Pottier, Histoire de la faïence de Rouen, Editions de Neustrie, 1986. - J-M André, Restauration de la céramique et du verre, Office du livre de Fribourg. - P-A Mariaux, La Majolique, la faïence italienne et son décor, Musée historique de Lausanne, Albert Skira 1995. - Les Della Robbia, Sculptures en terre cuite émaillée de la Renaissance italienne, Réunion des musées nationaux, 2003. - M. J Marryat, Histoire des poteries faïences et porcelaines, Paris, Jules REnoaurd, 1866, two volumes bound in red cloth. - J. Rosen, La faïence de Nevers, 4 volumes in slipcase, Faton, 2009. - P. Rada, Les techniques de la céramique, Gründ 1989. - La faïence européenne au XVIIe siècle, Le triomphe de Delft, Réunion des musées nationaux, 2004. - Booklet by M-F. Arlaud and A. Josserand, "Les faïences". Amateur printing. Approx. 100 pages. - M. Taburet, La faïence de Nevers et le miracle lyonnais au XVI siècle, Editions Sous le vent, 1981. - R. Paquot, La céramique musicale et instrumentale , Paris, Lévy, 1889. - O. Rayet et M. Collignon, Histoire de la céramique grecque, illustrations in and out of text, Paris, Decaux, 1888. - M-J BALLOT, La céramique française, Paris, Albert Morancé, 1924. - Ris-Paquot, Manuel du collectionneur de faïences anciennes, avec 56 sujets en couleur, Paris, Raphael Simon and Amiens chez l'auteur, 1877-1878. Modern binding.

Estim. 200 - 300 EUR
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