Null After Pierre-Auguste RENOIR (1841-1919). 
La danseuse au voile. 
Shaded bro…
Description

After Pierre-Auguste RENOIR (1841-1919). La danseuse au voile. Shaded brown patina bronze proof, signed, numbered II/V, and bearing the Valsuani foundry stamp. Height : 63 63 - Width 44 cm Provenance : Important collection of Catalan industrialists. Related sales: - Sotheby's, London, March 26, 1986, lot 158, Valsuani cast. Presented as a work by Renoir. - Christie's, Paris, June 9, 2006, lot 3, Valsuani cast iron, from the Claude Renoir collection. Presented as a work by Renoir & Guino. Once presented as Renoir models made with the praticiesn Richard Guino and Louis Morel, specialists now dispute the exact origin of these sculptures. What we do know is that Renoir worked with Richard Guino until 1918, when he collaborated with Louis Morel. Whether with one or the other of his practitioners, this leader of Impressionism was suffering from osteoarthritis at the time. Unable to work with clay, he placed his ever-flourishing imagination in the hands of these skilled sculptors. Our bronze proofs, of remarkable craftsmanship, have changed attribution several times and will probably do so again. Only one thing remains: their dazzling beauty.

105 

After Pierre-Auguste RENOIR (1841-1919). La danseuse au voile. Shaded brown patina bronze proof, signed, numbered II/V, and bearing the Valsuani foundry stamp. Height : 63 63 - Width 44 cm Provenance : Important collection of Catalan industrialists. Related sales: - Sotheby's, London, March 26, 1986, lot 158, Valsuani cast. Presented as a work by Renoir. - Christie's, Paris, June 9, 2006, lot 3, Valsuani cast iron, from the Claude Renoir collection. Presented as a work by Renoir & Guino. Once presented as Renoir models made with the praticiesn Richard Guino and Louis Morel, specialists now dispute the exact origin of these sculptures. What we do know is that Renoir worked with Richard Guino until 1918, when he collaborated with Louis Morel. Whether with one or the other of his practitioners, this leader of Impressionism was suffering from osteoarthritis at the time. Unable to work with clay, he placed his ever-flourishing imagination in the hands of these skilled sculptors. Our bronze proofs, of remarkable craftsmanship, have changed attribution several times and will probably do so again. Only one thing remains: their dazzling beauty.

Auction is over for this lot. See the results