Description
After Pierre-Auguste RENOIR (1841-1919) and Louis MOREL (1887-1975). Dancer with tambourine. Shaded brown patina bronze proof, signed and numbered G/J. Height 61.5 - Width 43.5 cm Provenance : Important collection of Catalan industrialists. Bibliography : P. HAESSAERTS, "Renoir Sculptor", New York, 1947, p 43, n°22 for terracotta prints from this series. Related sales - Christie's, June 30, 1999, lot 201. Presented as a work by Renoir & Morel. - Chritie's, New-York, February 20, 2002, lot 27 b. Presented as a work by Morel. - Sotheby's, New-York, February 15, 2007, lot 17. Presented as a work by Renoir. Once presented as Renoir models made with the praticies of 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 put 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..,
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After Pierre-Auguste RENOIR (1841-1919) and Louis MOREL (1887-1975). Dancer with tambourine. Shaded brown patina bronze proof, signed and numbered G/J. Height 61.5 - Width 43.5 cm Provenance : Important collection of Catalan industrialists. Bibliography : P. HAESSAERTS, "Renoir Sculptor", New York, 1947, p 43, n°22 for terracotta prints from this series. Related sales - Christie's, June 30, 1999, lot 201. Presented as a work by Renoir & Morel. - Chritie's, New-York, February 20, 2002, lot 27 b. Presented as a work by Morel. - Sotheby's, New-York, February 15, 2007, lot 17. Presented as a work by Renoir. Once presented as Renoir models made with the praticies of 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 put 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..,
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