Null BARTHOLDI (Auguste). 
Autograph letter signed to a "dear Monsieur". Paris, …
Description

BARTHOLDI (Auguste). Autograph letter signed to a "dear Monsieur". Paris, October 28, 1881. 2 pp. 1/2 in-8, letterhead printed with his monogram. "If I have delayed replying to your kind letter, it is because I HAVE BEEN SO BUSY SINCE THESE LAST DAYS, WITH THE AFFAIRS OF MY AMERICAN STATUE. I was very pleased to learn that my proposal was acceptable to you, because I was having a hard time getting the Rouget de Lisle statue done, and the foundrymen's demands made it impossible for me to get it done. I will be ready at the time you indicate, and this will enable me to study and work on my work this winter with all the care and pleasure I am happy to bring to it. I thank you very much for your gracious thoughts for me, I have already seen myself dismissed several times in official awards by more active candidates than myself; but I have always preferred to wait for these things from the spontaneity of events or the influence of people who esteem me. I am very touched... by the sentiments you have expressed to me on this occasion. I have taken good note of your observations concerning the count's crown and the inscriptions. I will need a drawing that could be submitted to the Council for approval. As for the inscriptions proposed by M. de Ronchaud [historian and director of national museums Louis de Ronchaud], I'm very happy with them; for I've already looked to see if I could find something in Victor Hugo; I'll draw up a layout for the side panels...". THE STATUE OF LIBERTY was designed by the sculptor Auguste Bartholdi, with a metal structure by the architect Eugène Viollet-le-Duc and then by the engineer Gustave Eiffel. It took almost ten years to complete, from the first works in 1875 to its installation and inauguration in New York in 1886. - As for the statue by Claude-Joseph ROUGET DE LISLE, it was the subject of a national subscription under the honorary presidency of Victor Hugo, and was inaugurated in Lons-le-Saunier, the birthplace of the author of La Marseillaise, in August 1882. "WE ARE SURROUNDED BY MARVELS, IT'S A MATTER OF SEEING THEM AND MAKING THEM SEEN...".

16 

BARTHOLDI (Auguste). Autograph letter signed to a "dear Monsieur". Paris, October 28, 1881. 2 pp. 1/2 in-8, letterhead printed with his monogram. "If I have delayed replying to your kind letter, it is because I HAVE BEEN SO BUSY SINCE THESE LAST DAYS, WITH THE AFFAIRS OF MY AMERICAN STATUE. I was very pleased to learn that my proposal was acceptable to you, because I was having a hard time getting the Rouget de Lisle statue done, and the foundrymen's demands made it impossible for me to get it done. I will be ready at the time you indicate, and this will enable me to study and work on my work this winter with all the care and pleasure I am happy to bring to it. I thank you very much for your gracious thoughts for me, I have already seen myself dismissed several times in official awards by more active candidates than myself; but I have always preferred to wait for these things from the spontaneity of events or the influence of people who esteem me. I am very touched... by the sentiments you have expressed to me on this occasion. I have taken good note of your observations concerning the count's crown and the inscriptions. I will need a drawing that could be submitted to the Council for approval. As for the inscriptions proposed by M. de Ronchaud [historian and director of national museums Louis de Ronchaud], I'm very happy with them; for I've already looked to see if I could find something in Victor Hugo; I'll draw up a layout for the side panels...". THE STATUE OF LIBERTY was designed by the sculptor Auguste Bartholdi, with a metal structure by the architect Eugène Viollet-le-Duc and then by the engineer Gustave Eiffel. It took almost ten years to complete, from the first works in 1875 to its installation and inauguration in New York in 1886. - As for the statue by Claude-Joseph ROUGET DE LISLE, it was the subject of a national subscription under the honorary presidency of Victor Hugo, and was inaugurated in Lons-le-Saunier, the birthplace of the author of La Marseillaise, in August 1882. "WE ARE SURROUNDED BY MARVELS, IT'S A MATTER OF SEEING THEM AND MAKING THEM SEEN...".

Auction is over for this lot. See the results

You may also like

AUGUSTE BARTHOLDI (1834-1904) Head of America circa 1856-1863 Patinated plaster in preparation for the Bruat monument, Colmar (Minor accidents) Head of America, sculpture in patinated plaster by Auguste Bartholdi, circa 1856-1863 HEIGHT 58 CM - H. 22,8 IN. Provenance By oral tradition, acquired by the previous owner directly from the descendants of the Bartholdi family. Related works - Auguste Bartholdi, Statue de l'amiral Bruat, 1857-1864, bronze, Champs de Mars, Colmar ; - Auguste Bartholdi, Projet pour le Monument Bruat, tinted plaster model, 1856, Musée Bartholdi, Colmar; - Auguste Bartholdi, Tête de l'Afrique, Fragment de l'ancienne fontaine, pink sandstone, 1863, Musée Bartholdi, Colmar; - Auguste Bartholdi, Head of America, Fragment of the old fountain, pink sandstone, 1863, Musée Bartholdi, Colmar. Related literature - Stanislas Lami, Dictionnaire des sculpteurs de l'École française au dix-neuvième siècle, t. I, edition of p. 65 ; - Jacques Betz, Bartholdi, Les éditions de Minuits, Paris, 1954, pp. 46, 47 and 49; - Robert Belot and Daniel Bermond, Bartholdi, Perrin, 2004, pp.117-119; - Robert Belot, Bartholdi, l'homme qui inventa la liberté, collection Biographies et mythes historiques, Ellipses, 2019, pp.159-169, 314, 527. Of rare modernity and powerful forms, this plaster head of America corresponds to the definitive state of the Allegory of the New Continent. America is "represented by a young man whose appearance still has something of the savage about it; with his left foot he pushes aside old idols, under his elbow a cogwheel symbolizes industry, and an oar, the genius of navigation". His forehead is topped with a star. This star originally adorned the forehead of the woman who was to represent Europe "as a symbol of the light of which Europe is the center". While it has been said that this added star was a Masonic sign, a discreet sign of Bruat's commitment to Freemasonry, its transfer from the forehead of "Old Europe" to "Young America" takes on a highly symbolic and precursory dimension in the gesture of Bartholdi, who, from this time onwards, wished to convey a humanist message through art. More than a decade before Bartholdi, close to the abolitionist movement, became close to Édouard de Laboulaye, a moderate republican who saw America as a model of liberty in 1865 and proposed his Statue of Liberty project, he presented here an optimistic image of the Continent, symbolizing the democratic ideal and the welcome of immigrants.

AUGUSTE BARTHOLDI (1834-1904) Head of Africa circa 1863 Patinated plaster in preparation for the Bruat monument, Colmar (Minor accidents) Head of Africa, sculpture in patinated plaster by Auguste Bartholdi, circa 1863 HEIGHT 58 CM - H. 22,8 IN. Provenance By oral tradition, acquired by the previous owner directly from the descendants of the Bartholdi family. Related works - Auguste Bartholdi, Statue de l'amiral Bruat, 1857-1864, bronze, Champs de Mars, Colmar ; - Auguste Bartholdi, Projet pour le Monument Bruat, tinted plaster model, 1856, Musée Bartholdi, Colmar; - Auguste Bartholdi, Tête de l'Afrique, Fragment de l'ancienne fontaine, pink sandstone, 1863, Musée Bartholdi, Colmar; - Auguste Bartholdi, Head of America, Fragment of the old fountain, pink sandstone, 1863, Musée Bartholdi, Colmar. Related literature - Stanislas Lami, Dictionnaire des sculpteurs de l'École française au dix-neuvième siècle, t. I, edition of p. 65 ; - Jacques Betz, Bartholdi, Les éditions de Minuits, Paris, 1954, pp. 46, 47 and 49; - Robert Belot and Daniel Bermond, Bartholdi, Perrin, 2004, pp.117-119; - Robert Belot, Bartholdi, l'homme qui inventa la liberté, collection Biographies et mythes historiques, Ellipses, 2019, pp.159-169, 314, 527. This head represents a black man with powerful, hard features, frozen in an expression that is at once dignified, proud and bitter. In the abolitionist context of the 1860s, Bartholdi offered both a powerful image of the African victim of slavery but determined to free himself from its oppressive chains, and his first work conveying his political commitment and attachment to universalist values. The impact of this representation of Africa was also immediate for certain personalities adhering to the same values, such as Dr. Schweitzer, physician and philosopher, future Nobel Peace Prize winner in 1952, whose Bartholdi Museum preserves a moving testimony, entitled 'Am I in the grip of a dream or a hallucination' and fully transcribed in Robert Belot's 2019 biography: "... What I look upon as the noblest jewel in Colmar is "le Nègre" (a term of the time transcribed verbatim to remain faithful to the original text) who with his hands crossed above his knees the deep dazed gaze is lying at the foot of the Admiral. Yes, this "Nègre" is the noblest, most original work of our sculptural age. I know of no statue that has caused me such marvellous emotion, that moves me so deeply, to the very depths of my soul. The truth of nature and the truth of the ideal are blended to such a marvelous degree...".