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Thu 20 Jun

Jean RIVIÈRE (1853-1924) - ÉCOLE TOULOUSAINE "Théodora" the model designed around [1891], the face and finery of the Byzantine empress reputed to be inspired by those of Sarah Bernhardt in Victorien Sardou's eponymous play created in 1884. High-relief and applique sculpture. Cast aluminum with double patina; silver, gold. Late 19th century, early 20th century. Unsigned. H.: 78 cm, W.: 54.5 cm, D.: 15 cm. (Alterations to the patina). It should be noted that this sculpture, of which only 3 metal proofs are known to date, has often been mistakenly attributed to Théodore Rivière, another great sculptor and contemporary of our artist. Provenance: Important Art Nouveau collection from Bordeaux. Exhibition : Exposition de l'Union Artistique, Toulouse, 1891 - A plaster proof of our sculpture model presented at this event. Public collections : Musée des Augustins, Musée des Beaux-Arts de Toulouse - A plaster proof with a polychrome and gilded patina is preserved in this institution under inventory number 2018 6 1 (Provenance Sale Sotheby's June 21, 2018 number 182). History: Following the success of Victorien Sardou's play, Théodora, embodied in the theater by Sarah Bernhardt, became a veritable icon in the 1880s and 1890s. It's likely that the reading of her complex personality, somewhere between saint and prostitute, made her a free and powerful woman, made her a woman of freedom and power well ahead of her time; the choice of the actress to take on her features proved to be the many similarities between the two women. Jean Rivière, sculptor from Toulouse in 1891, at the Union Artistique exhibition, a Florentine medallion, echoing his great elders. The artist had trained at the École de Beaux-Arts in Toulouse, eventually eventually teaching ornamental sculpture. In addition to local exhibitions, he participated in the Salon des Artistes Français from 1882 to 1896.

Estim. 3 000 - 4 000 EUR

Thu 20 Jun

HENRI PROZINSKI (1887-1968) (HENRI LOUIS BOLESTAS PROSZYNSKI, DIT) SCULPTOR & SUSSE FRÈRES FOUNDER-PUBLISHER "Pekingese", proof number 2, from an edition of 4 proofs, all made in 1935. Sculpture. Bronze proof with nuanced brown patina. Lost-wax casting. Early edition, 1935. Signed PROZINSKI and bearing the foundry stamps SUSSE Fes Edts Paris (inscribed and circular), the mention Cire perdue and the Bronze stamp and a number 2 on the base. Height: 19 cm - Length: 46 cm - Width: 30 cm Henri Louis Bolestas PROSZYNSKI (1887-1968) A French sculptor born in Pau in 1887, Henri Proszynski remains famous for the many monuments he built throughout his life as an artist. The son of a Ponts et Chaussées engineer who installed most of the railroad lines in Ariège and acquired the Château de Crampagna, he came to Paris to study sculpture, but his heart and inspiration remained Occitan. "Whereas so many young sculptors and painters are bewildered by the big city and ask it for all their subjects, [it was] our peasants and our peasant women that Proszynski strove to translate," wrote his friend Roger Lafagette, former deputy for Ariège, in an article published in the newspaper L'Avenir in September 19201. It's hardly surprising, then, that after the Great War, having been a poilu mobilized on the firing line, he received several official commissions for war memorials in Ariège towns such as Foix, Pamiers, Lavelanet and Le Fossa. A regular at art fairs, he exhibited at the Salon de la Société Nationale des Beaux-Arts in 1906, and from 1908 onwards presented his work at the Salon des Artistes Français. He won numerous prizes and medals, and was named Chevalier de la Légion d'Honneur in 1934. But it was in 1925 that he designed one of his masterpieces for the Exposition des Arts Décoratifs et Industriels Modernes in Paris, set in the Cours-la-Reine gardens, a fountain depicting a reclining faun facing a ram. This monumental work demonstrates that Henri Proszynski is not only a sculptor committed to representing the human figure, but also an animal sculptor, and has been for many years. As early as 1914, he presented a plaster group of playing dogs at the Salon des Artistes Français. Then, in the 1930s, he repeatedly exhibited animal subjects at Galerie Le Journal, including cats, goats, hawks, toads and more. The cat is a recurrent motif in his work - studied in a variety of attitudes; but so are dogs, notably with the Pekingese shown here, which we don't know whether it was commissioned or chosen by the artist. An adept of direct carving, Proszynski's sculptures are simplified in form, in the vein of the Art Deco plastic approach, sometimes even tending towards a certain geometrisation. But this geometrisation in no way precluded his attachment to retranslating emotion and feeling in his sculptures, as is the case with Printemps (also entitled Fontaine du Berger), another of his masterpieces, which truly depicts love - whether human or animal. The same is true of our Pekingese, which, though stylized, symbolizes first and foremost man's faithful companion. _____ 1 Roger Lafagette - Propos de Vacances, Un grand artiste in L'Avenir, le Journal de l'Ariège - 45e année, n° 3920 du jeudi-dimanche 2-5 septembre 1920.

Estim. 3 000 - 5 000 EUR

Thu 20 Jun

Edgar Degas Autograph Letter Signed on Mary Cassatt - ALS in French, signed “Degas,” three pages on two adjoining sheets, 4 x 5.25, June 13, 1889. Letter to fellow artist Albert Bartholomé, in full (translated): "I’ve often thought of the pleasure I did not give myself on the day of the Christ’s departure. It would have been possible to follow as far as Dammartin, have breakfast, and take the train to be gently lulled back to sleep on the way to Paris. It would have been necessary to be in front of the Trinité at 8 o’clock and wait for the coach, which would not have been unreasonable. I’m annoyed that I didn’t do it. You say that you will be ready Saturday, so I’ll go and see this on Saturday. If I take the 2:40 train, I’ll be at Crépy at 4:25. I’ve put in a lot of work on the little wax figure. I’ve made a base for it with pieces of linen soaked in a more or less wet plaster. Madame Cassatt continues to do well. The dressing was changed on Monday. Everything is getting better. Give my respects to Monsieur de Fleury and to the inventors, if they’re there." In fine condition. A fascinating artistic letter, as Degas served as one of Cassatt's chief mentors in Paris. He invited her to exhibit in the third Impressionist exhibition in 1877, and introduced her to pastel and engraving. For her part, Cassatt was instrumental in helping Degas to sell his paintings and promote his reputation in America. Degas was also a close friend and mentor to Bartholomé, convincing him to transition from painting to sculpture as his primary artistic medium.

Estim. 2 500 - 3 500 USD

Fri 21 Jun

Jean-Antoine HOUDON (1741-1828) et son atelier - George Washington (1732-1799) Bust in plaster with terracotta patina. Original model created in 1785. Signed on the right shoulder "HOUDON F.". Bears the wax stamp (incomplete) of Houdon's workshop on the inside. H: 65 cm including breche marble pedestal, H: 14 cm (Minor accidents and restorations). Provenance : - Family of connoisseurs, Paris, probably before 1960. Related works: - Jean-Antoine Houdon, George Washington (1732-1799), original terracotta model, H: 32 cm, Mount Vernon, Virginia, George Washington Estate, Museum & Gardens, inv. W-369 ; - Jean-Antoine Houdon, George Washington (1732-1799), terracotta bust, H: 56 cm, Paris, Musée du Louvre, inv. Louvre, inv. RF 350 ; - Jean-Antoine Houdon, George Washington (1732-1799), marble bust, H: 63 cm, Versailles, Musée National du Château, inv. MV 630 ; - Louis Léopold Boilly, L'atelier de Houdon, circa 1804, oil on canvas, H: 88 x W: 115 cm, Paris, Musée des Arts Décoratifs, inv. PE 63. Another example in plaster called "à l'antique avec le torse nu": - Jean-Antoine Houdon, Georges Washington (1732-1799), circa 1786, patinated plaster (originally), H: 54.5 cm, Boston, Athenaeum, inv. UH150 ; - Jean-Antoine Houdon, Georges Washington (1732-1799), stained plaster, H: 65 cm, n°59 of the exhibition catalog Centenaire de J.-A. Houdon, né à Versailles, Versailles, 1928 Related literature - Guilhem Scherf, Houdon, 1741-1828: statues, sculpted portraits..., Paris, Musée du Louvre Ed. Somogy éd. D'art, 2006 ; -Anne Poulet, Jean-Antoine Houdon. Sculptor of the Enlightenment, cat. exp. National Gallery of Art, May 4-September 7, 2003, Los Angeles, The J. Paul Getty Museum, November 4, 2003-January 25, 2004, Versailles, Musée et Domaine national du Château de Versailles, March 1-May 30, 2004, Washington, University of chicago Press, 2003, P: 263-268 ; - Louis Réau, Houdon: sa vie et son oeuvre, Paris, F. de Nobele, 1964; - Paul Vitry, Centenaire de J.-A. Houdon, né à Versailles, cat. exp., Versailles, Bibliothèque de Versailles, 1928, P: 38. Building on his reputation as an illustrious portraitist, French sculptor Jean-Antoine Houdon was chosen in 1784 by Thomas Jefferson and Benjamin Franklin to create the full-length sculpture of George Washington commissioned by the Virginia Legislature. Although his model was a portrait painted by Charles Wilson Peale, the official portraitist of the hero of American Independence, Houdon nevertheless made the trip to the United States to work "from life" on this prestigious commission. The sculptor, accompanied by Benjamin Franklin and three assistants, set sail from Le Havre for Philadelphia in July 1785. During his stay in October of the same year with the general resident at Mount Vernon, he executed a live mask and a terracotta bust. The large marble sculpture of the Founding Father of the United States of America, delivered in 1796 and still in the Virginia State Capitol in Richmond, as well as the various bust versions, all derive from these two works modeled at Mount Vernon during the winter of 1785. Houdon created three different versions of the statesman's bust. One in "antique" style, like the original terracotta, one in tunic and toga, and one in shirt and scarf. The bust presented here is one of the rare "antique" versions. It's difficult to say with any certainty how many busts in patinated plaster there were in this "à l'antique" version. On site, in 1785, Houdon produced a first plaster copy from a cast of the Mount Vernon terracotta, as a gift for Franklin. In 1786, the sculptor's assistants returned to France with the molds for the bust. In 1789, Jefferson was in Paris and purchased a proof from Houdon (with a terracotta patina, the bust is now stripped, bears the remains of the workshop's wax stamp and is preserved in Boston, Athenaeum, inv. UH150). A plaster copy, not located today, was part of the sale of the artist's studio collection in 1828, but its description does not allow us to know whether it was patinated or still clothed. Most surviving examples are late replicas of the toga model, many in terracotta or bronze. The reverse of our bust bears the wax stamp that Houdon had affixed to his busts, and which can be found on all the plaster casts and terracottas from his workshop offered for sale in 1795 and 1828. The work is signed below the shoulder in the still-fresh plaster with his beautiful signature in disjointed cursive characters. The impression is clean, lively and nervous, and the original patina a beautiful golden blond. The bust rests on its original pedestal, an elegant breche marble sign of the special attention paid to the work.

Estim. 20 000 - 30 000 EUR

Sat 22 Jun

Lederer, Helmut Danae III. 1961. Hohlbronze mit gold-rötlicher Patina, glattpoliert. 27 x 26 x 30 cm. - Punktuell berieben und mit Flecken. Vereinzelt Patina leicht unregelmäßig, insgesamt sehr gut. Prachtvoller Guss mit homogener Patina. - German Post War Sculptures Lederer, Helmut Danae III. 1961. hollow bronze with golden-reddish patina, polished. 27 x 26 x 30 cm. - Rubbed in places and with stains. Occasional slightly irregular patina, overall very good. Magnificent cast with homogeneous patina. Illustrated in: Helmut Lederer. Sculptures, pictures. A selection. Ed. Stäftische Galerie im Palais Stutterheim, Erlangen 1994, ill. o. Os. - The majority of the sculptural work of the German sculptor Helmut Lederer consists of works in plaster and bronze. The formal language is abstract. Since 1959, Lederer's sculptural work has included female nudes, which the artist emphasized in a physical way with curves and spherical elements - the femininity stands in an exciting interrelationship with round, abstracted forms and, together with the smooth, heavy materiality of the bronze and the warm color effect, forms a balanced presence that appears unagitated and coherent in itself. Many of Lederer's sculptures can now be found in public spaces in the city of Erlangen, where the artist lived since the end of the war in 1946 and where he died in 1999. Hollow bronze with gold-reddish patina, polished smooth. - Rubbed in places and with stains. Occasional slightly irregular patina, overall very good. Splendid cast with homogeneous patina. - The majority of the sculptural work of the German sculptor Helmut Lederer consists of works in plaster and bronze. The formal language is abstract. Since 1959, Lederer's sculptural work has included female nudes, which the artist emphasized in a physical way with curves and spherical elements - the femininity stands in an exciting interrelationship with round, abstracted forms and, together with the smooth, heavy materiality of the bronze and the warm colour effect, forms a balanced presence that appears unagitated and coherent in itself. Many of Lederer's sculptures can now be found in public spaces in the city of Erlangen, where the artist had lived since the end of the war in 1946 and where he died in 1999.

Estim. 3 000 EUR

Sat 22 Jun

Pierre-Auguste Renoir (1841-1919) and Richard Guino (1890-1973) "Le Feu ou Petit Forgeron" Model created in 1916. Bronze with brown patina Signed "Renoir" on the edge of the terrace Bears the founder's stamp "CIRE PERDUE C. VALSUANI" Dim.top VALSUANI" Dim.haut 32 x 21 x 32,5 cm Related works: - Auguste Renoir, Richard Guino, Feu ou Petit forgeron, after 1916, bronze statuette, signed, "Renoir", stamped "cire perdue C. Valsuani", estate stamp, H. 32.5 x W. 21 x D. 32.3 cm, Paris, Musée d'Orsay, inv. RF2741; - Auguste Renoir, Richard Guino, Fire, 1914-1916, bronze, H. 31.8 x W. 20.3 x D. 31.8 cm, Philadelphia, Philadelphia museum of art, inv. 1957-43-1. Related literature: -Sylvie Patry, Claudia Einecke, Jean-Patrice Marandel, Renoir au XXème siècle, cat. exp. Paris, Grand Palais, September 23 2009-January 4 2010, Los Angeles County Museum of art, February 14-May 9 2010, Philadelphia Museum of art, June 17-September 6 2010, Paris, Réunion des musées nationaux, 2009, p. 350; -Pascale Picard-Cajan, Antoinette Le Normand-Romain, Guino, Renoir: la couleur de la sculpture, cat. exp. Perpignan, Musée Hyacinthe Rigaud, June 24-November 5, 2023, Milan, Silvana editoriale, 2023, model no. 81, p. 132. The painter Auguste Renoir was a latecomer to three-dimensional art. In 1913, at the encouragement of the famous art dealer Ambroise Vollard, he decided to create sculptures inspired by his paintings. sculptures inspired by his paintings. At the age of 72 and almost paralyzed by rheumatism, he enlisted the help of a talented young Catalan artist, Richard Guino. Following the master's instructions, Guino modeled mythological subjects, portraits and allegorical subjects. Among the latter, our two sculptures represent two Elements originally conceived as a pair: the blacksmith representing Fire and the washerwoman representing Water. The latter, also called "La Petite Laveuse", is similar to a model frequently painted by Renoir. The original plaster casts were made by Guino, commissioned by Ambroise Vollard in 1916, who produced a first series of ten bronzes. A second series of ten bronzes was produced after Renoir's death in 1919 by Renou and Poyet. Other versions were cast by the founders Susse Frères, Valsuani and Rudier, in different sizes with a few variations. (Appraiser: Cabinet Lacroix Jeannest) ***** Bids are accepted subject to our terms and conditions of sale, so please refer to **** for shipping information.

Estim. 4 000 - 6 000 EUR

Tue 25 Jun

Alfred Pierre Noël Cazaubon (1895-1979) Orpheus raising his lyre Circa 1940 Signed CAZAUBON on the terrace Large figure in painted plaster imitating bronze Getekend CAZAUBON op het terras Grote figuur in gips geschilderd in imitatie van brons Signed CAZAUBON on the terrace Large figure in plaster painted in imitation of bronze 287 x 75 x 58 cm (112.9 x 29.5 x 22.8 in) Footnotes: Provenance Acquired in Paris in the 1970s by the current owner We have little information on Pierre Cazaubon (1885-1979). He was born in Pau and trained in the studio of Joseph Alexandre and Ernest Gabard (1879-1957). He exhibited regularly at the Société des amis des Arts de Pau. He continued his training in Paris with Injalbert (1845-1933). Then, between 1927 and 1928, he spent some time in America, where he created the bas-reliefs for Saint John's Church in New York and the Palais des Congrès in Havana. On his return to Paris in 1929, he was made a member of the Salon d'Automne with the Bernheim de Villier prize, and exhibited there for the first time alongside artists such as Bugatti, Maillol, Pompom and Dejean. His sculpture 'Porteuse d'eau' (Water Bearer), placed at the entrance to Room IV, attracted considerable attention and was considered a revelation for its 'qualities of attentive simplicity and insinuating, gentle, but perfectly accurate modelling' (loc. cit., Le Temps, 5 November 1929). He then regularly exhibited sculptures in different materials, stone, bronze and plaster at the Salon d'Automne. He won awards at the 1930 and 1937 Universal Exhibitions, and in 1947 won a gold medal in the monumental art category at the Exposition internationale de l'habitation et de l'urbanisme at the Grand Palais. We are also aware of a monumental bronze sculpture representing Heraklès choking a snake that was sold at the Pau-Pyrénées auction house, Etude Gestas, on 17 June 2000. The French government commissioned several sculptures from him, so that he is relatively well represented in French public collections (Musée de Pau, Musée d'Art Moderne de Paris, Théâtre National de Chaillot, Centre National des Arts Plastiques, etc). Pierre Cazaubon's works are typical of the 1930s period and are strongly inspired by Maillol and Bourdelle. Like Bourdelle, he sought to give his sculptures a monumental dimension. The figure shown here is a fine example of this, and is almost certainly the plaster design for the sumptuous bronze of the same dimensions cast by Attilio Valsuani (active 1927-1960) now in the Nicolas Bourriaud gallery in Paris Comparative literatures F. Roches, 'Le salon d'automne 1941' , l'Architecture française: architecture, urbanisme, décoration 1940 - 1975, Paris Dossier d'artiste du musée des années Trente, Boulogne-Billancourt, Le Temps, Nov. 5, 1929 Dossier d'artiste des œuvres et documentation des musées de la ville de Pau Isabelle d'Amécourt Expert - SFEP member [email protected] This lot is subject to the following lot symbols: AR AR An additional percentage will be charged to buyers for lots preceded by the AR symbol corresponding to artists' resale rights under the 2006 Copyright Regulations. Please refer to the sales conditions for further details. De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie. An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details. For further information on this lot please visit Bonhams.com

Estim. 4 000 - 6 000 EUR

Thu 27 Jun

Paul Landowski, 1875 Paris – 1961 Boulogne-Billancourt - HERCULES AND THE KERYNITIC HINDIN, 1922 Height: 49.3 cm. Width: 60.9 cm. Depth of the plinth: 23 cm. Total depth: 25 cm. Signed on the elongated, rounded corner plinth, with foundry mark "F. BARBEDIENNE Fondeur Paris". Silver-plated bronze. Large group of figures depicting the youthful Hercules, who, according to Greek myth, had to catch the hind as the third of his twelve tasks. Hercules is depicted here as youthfully slender in the Art Deco style, which gave rise to the idea of the sculpture as a sports trophy. The sculpture was also a trophy for the international ski cup in 1922; another cast was also produced for the Swedish Olympic delegation in 1922. Created from the 1921 model, the plaster model is in the Museum of the 1930s in Boulogne Billancourt. In his diary, Landowski confessed his admiration for the sculptor Bourdelle, noting the similarity of the youth's head to that of Hercules. Works can be found in the Metropolitan Museum in New York. Only a few of the casts were patinated in silver, one with a gold patina was sold at auction in 2018, and the sculptor's family was of Polish origin. He was a member of the Académie des Beaux-Arts Paris from 1926 and later became its director. He was also director of the Villa Medici in Rome. A.R. Literature: Cf. Jules Romaines, Gérard Caillet, Pierre Berdoy, Paul Landowski, 1875-1961. La main et l'esprit, Paris 1961 (1401586) (11) Paul Landowski, 1875 Paris - 1961 Boulogne-Billancourt HERCULES AND THE CERYNEIAN HIND, 1922 Height: 49.3 cm. Length: 60.9 cm. Depth of plinth: 23 cm. Overall depth: 25 cm. Signed on long grass knoll plinth with rounded corners with foundry mark "F. BARBEDIENNE Fondeur Paris". Bronze; silvered. Large figural group depicting the youthful Hercules, who, according to Greek mythology, had to capture the Ceryneian hind as the third of his twelve labours. Hercules appears youthful and slim in the spirit of Art Deco, which gave rise to the idea that the sculpture could also be considered a sports trophy: in 1922 it was used as an international ski trophy. The plaster model is held at the "Museum of the 1930s" in Boulogne Billancourt. Literature: Jules Romaines, Gérard Caillet, Pierre Berdoy, Paul Landowski, 1875-1961. La main et l'esprit, Paris 1961.

Estim. 10 000 - 12 000 EUR

Thu 27 Jun

Jean-Baptiste Carpeaux, 1827 Valenciennes – 1875 Courbevoie - UGOLIN Height: 48 cm. Width: 37.2 cm. Depth: 27.3 cm. Signed "B. Carpeaux" on the front of the turf base, studio seal "Propriété Carpeaux" on the reverse. Cast during his lifetime, 1870, after a model from 1861. Bronze, dark patina. Bronze group expressively depicting a historical event, namely the fate of the Tuscan nobleman Ugolino della Gherardesca, Count of Donoratico, who died of starvation in Pisa in 1289 together with his two sons and two grandsons due to political rivalry. Dante had already taken up the tragic theme in his "Divine Comedy". Carpeaux, who was awarded the Prix de Rome in 1854, spent the following years in Italy, which probably inspired this theme. Michelangelo's "Last Judgement", but also the ancient Laocoon, provided inspiration. As a sculptor, always a master of psychological expression, he created a poignant depiction of the physical and emotional torment of the four desperately starving figures. The father resists the urge to accept his children as food, a monstrous situation that is made extremely clear in the group of figures. The life-size sculpture was created between 1857 and 1861 as the final work for the Rome scholarship. A version in marble (height: 197.5 cm) was acquired by the Metropolitan Museum in New York. A plaster bozzetto (54 cm) is in the Musée des Beaux-Arts, Valenciennes, another in the Musée d'Orsay Paris, an "Ugolino" 1861, in the Petit Palais, Paris. The bronze version was first created as a reduction in 1863, based on the model from 1861. Carpeaux was a pupil of Fernand Liet, Duret and Rude. After studying in Italy, where he was described as the "newly risen Michelangelo", he exhibited at the Villa Medici. He settled in Paris in 1862 where, as a friend of Géricault, he met the sculptor Albert-Ernest Carrier-Belleuse. Influenced by François Rude, he became a pupil of Francisque Joseph Duret at the Academy. Soon honored with high-ranking commissions, he created numerous busts, full-length figures and groups of figures, always expressive and in keeping with naturalism. Dalou and Forain were among his students. Corresponding bronzes in the Staatliche Kunsthalle Karlsruhe (inv. no. P 232) and in the Hamburger Kunsthalle (inv. no. S-1979-7). A.R. Literature: Michel Poletti, Alain Richarme, Jean-Baptiste Carpeaux, Sculpteur, Catalogue raisonné de l'oeuvre édité. Paris 2003, p. 71ff. Exhibition: Elegant-Expressive, From Houdon to Rodin Staatliche Kunsthalle Karlsruhe, French Sculpture of the 19th Century at the Staatliche Kunsthalle Karlsruhe. (1401583) (11) Jean-Baptiste Carpeaux, 1827 Valenciennes - 1875 Courbevoie UGOLIN Height: 48 cm. Width: 37.2 cm. Depth: 27.3 cm. Signed on the front of the grass plinth "B. Carpeaux", on the back studio seal "Propriété Carpeaux". Lifetime cast, 1870. model 1861. Bronze with dark patina. Figural bronze group expressively depicting a historical event, namely the fate of the Tuscan nobleman Ugolino della Gherardesca, Count of Donoratico, who starved to death in prison in Pisa in 1289 due to political rivalry, together with his two sons and two grandchildren. Carpeaux, who won the Prix de Rome in 1854, spent the following years in Italy, which probably inspired him to create this subject. Michelangelo's Last Judgement and the ancient Laocoon served as inspiration. The sculpture was created between 1857 and 1861 in life size, as the final work of his fellowship in Rome. A version in marble (H: 197.5 cm) was acquired by the Metropolitan Museum in New York. A plaster bozzetto (54 cm) is held at the Musée des Beaux-Arts, Valenciennes, another at the Musee d'Orsay Paris, an Ugolino dating 1861 in the Petit Palais, Paris. The bronze version was first created as a reduction in 1863 based on the model of 1861. Literature: Michel Poletti, Alain Richarme, Jean-Baptiste Carpeaux, Sculpteur, Catalogue raisonné de l'oeuvre édité, Paris 2003, pp. 71... Exhibitions: Elegant - Expressive. From Houdon to Rodin, French Sculpture of the 19th Century, Staatliche Kunsthalle Karlsruhe, Siegmar Holsten (ed. et. al.), 2007.

Estim. 250 000 - 300 000 EUR

Fri 28 Jun

BALDUS, Édouard The Louvre. 1149 orig. photos pasted on 462 plates, 1 engraving and 2 plans. Collected in 9 slipcases. The photographs are salted paper prints from negatives on paper (for small formats: details of sculptures) or collodion glass (for large formats: pavilions of the Nouveau Louvre), between 1855 and 1857.The construction of the new Louvre was the subject of a formidable photographic operation commissioned by the Minister of State, Achille Fould, and Lefuel. In May 1854, on the oral instructions of the Minister, Lefuel asked Baldus (1813-1882), photographer of the history of the Louvre, to preserve an image of the extraordinary construction site of the new Louvre, thanks to the new medium of photography. Lefuel's aim was to build up a photographic archive of the key moments in the construction of the new Louvre. Baldus photographed every stage in the construction of the new Louvre. This is the series of "vues du dimanche" or "épreuves du dimanche". Every Sunday, Baldus photographed the various pavilions and wings of the Louvre under construction from several vantage points, from the demolition of the old structures to the raising of the storeys and the installation of statues on the facades. Today, thanks to these photographs, we can follow the construction of the new buildings step by step. For the various stages of the Louvre's construction, Baldus produced high-quality photos with meticulous framing, and shots that give the impression of space, volume and monumentality. Qualities that few photographers of the time were able to achieve. Baldus avoided the picturesque, and his plates are considered by specialists to be the pinnacle of the art. In 1855, Baldus received a new commission. It was to photograph all the statues and decorations on the façades of the Louvre. This work is a unique source of information on the statues executed during this period of sculptural splendor. All the statues were photographed, not only those we see today, but also those that were proposed to Lefuel and rejected, those that were abandoned, those that were destroyed or moved. All the statues were photographed between 1855 and 1868, with the exception of two statues by Préault, War and Peace (no doubt due to the author's speed of execution). The photographs of the statues and decorations were taken by Baldus, refusing any artistic effects and focusing on the most rigorous restitution of the statuary (all photos are taken rigorously facing the work, without any distortion due to perspective). The statues are photographed at the plaster model stage, when they are made available by the sculptors on Swan Island. Each photograph is accompanied by a commentary indicating the author, the name of the work or, failing that, the type of work (pediment, crowning group, etc.), the place of installation and the year of execution. These photographs and indications constitute an invaluable collection for researchers and historians. This exceptional collection represents several thousand photos, around five thousand in all. These photos were widely used as a reference for the restoration of the Illustrious Men and Geniuses with Attributes, between 1990 and 1993. These photos are also essential for keeping track of all the artists who contributed to the Louvre's decoration, especially those who are among the least well known. By the time he received the commission for the Louvre, Baldus was already well known as an architectural photographer. He had been chosen by the Monuments Historiques commission to photograph France's historic monuments as part of the heliographic mission launched in 1851 (along with three other photographers, Henri Le Secq, Gustave Le Gray and O. Mestral). In 1855, he was commissioned to photograph the landscapes crossed by the railway line from Paris to Boulogne. He produced a similar report in 1859, for the Paris-Lyon-Méditerranée line. In 1856, he was also commissioned by the Minister of the Interior to immortalize the landscapes of the Rhône after the 1856 floods. After 1868, and until his death (in 1889), Baldus was content to exploit his photographic holdings, publishing his pictures in the form of albums and taking part in international events (Paris, Brussels, London...).

Estim. 2 000 - 3 000 EUR

Fri 28 Jun

Joseph CSAKY (1888-1971) Teryicorh Studio plaster (minor chips). Titled on the front, signed on the side and dated (19)65. Height: 56 cm History: In Greek mythology, Terpsichore was muse of dance. Provenance : - Sale of Atelier de Joseph Csaky, Claude Boisgirard and Axel de Heeckeren, Hôtel Drouot, Paris, March 10 - June 28 1978, lot no. 86 (plaster sold with printing rights for eight eight copies); - Patrick Trigano Collection sale, Christie's, Paris, July 5 2005, no. 80 (the nine muses together). Bibliography: Félix Marcilhac, Joseph Csaky, du cubisme historique à la figuration réaliste - Catalogue raisonné des sculptures, Éditions de l'Amateur, Paris, 2007, model referenced under n° 1965-FM.364/a and reproduced on p. 387 and p. 267 for a a photograph of the nine plaster casts. 158 ART NOUVEAU - ART DECO OGER - BLANCHET Friday June 28, 2024 85 159 Joseph CSAKY (1888-1971) Haleia Studio plaster (small chips). Titled on the front, signed on the side and dated (19)65. Height: 56 cm . € 3,000 / € 4,000 Historical background: in Greek mythology, Thalie is the muse of comedy. Provenance : - Sale Atelier de Joseph Csaky, Claude Boisgirard and Axel de Heeckeren, Hôtel Drouot, Paris, March 10 - June 28 1978, lot no. 81 (plaster sold with printing rights for eight eight copies); - Patrick Trigano Collection sale, Christie's, Paris, July 5 2005, no. 80 (the nine muses together); private collection collection, Paris. Bibliography: Félix Marcilhac, Joseph Csaky, du cubisme historique à la figuration réaliste figuration réaliste - Catalogue raisonné des sculptures, Éditions de l'Amateur, Paris, 2007, model referenced under n° 1965-FM.360/a and reproduced on p. 386 and p. 267 for a a photograph of the nine plaster casts

Estim. 3 000 - 4 000 EUR

Sat 29 Jun

Sébastien de BOISHERAUD (1847-1927) "If I advance, follow me; if I retreat, kill me; if I die, avenge me - Henri de La Rochejacquelein", 1882. Plaster signed, titled and dated. Height: 70.5 cm. Width : 38 cm. Depth: 31.5 cm (missing, damaged and restored). This powerful figure of Monsieur Henri (1772-1794) probably evokes the Battle of Les Aubiers and echoes the painting by Pierre-Narcisse Guérin. Here, the 21-year-old general rises to the attack at the height of the battle, as evidenced by the bullet hole in his hat. Saber in the air, encouraging his men, he steps over a mortar and a broken rifle. With his left hand, he firmly holds the fleurdelisé standard. At the age of 19, Henri de La Rochejaquelein refused to follow his family into emigration, opting instead to defend the throne in Louis XVI's constitutional guard, to which he was called in 1791. On August 10, 1792, he joined the hapless Swiss in defense of the Tuileries Palace. Returning to his homeland, he discovered the Vendéens in revolt against religious persecution, conscription and the execution of the King. On April 13, 1793, at the Château de la Durbellière in Mauléon, 3,000 insurgent peasants cheered him on and urged him to lead them. It was there that he uttered his eternal words: "If I advance, follow me! If I retreat, kill me! If I die, avenge me! On the same day, he triumphed at Les Aubiers over General Quétineau's troops. The north of the Deux-Sèvres region was thrown into insurrection. Sébastien de Boishéraud had "known fire" as a grenadier for seven years. Gifted at drawing, he became interested in sculpture on his return from captivity in Germany in 1871. A pupil of Amédée Ménard and Charles Lebourg, he exhibited at art salons in Nantes and Paris. A figurative artist, he sculpted the people of his country, and of history. The Musée d'Art et d'Histoire de Cholet holds a terracotta statue of François-Athanase de Charette. Dated 1885, its dimensions are close to our work, which is also featured on the cover of the booklet "Les Boishéraud dans la Tourmente révolutionnaire, archives familiales, 2005". As far as we know, there are only a few known examples of this plaster, all in private collections.

Estim. 500 - 800 EUR

Sat 29 Jun

Francis RENAUD (Saint-Brieuc, 1887-1973) VONNICK. Exceptional direct-cut marble sculpture, circa 1929. Titled on the base and signed on the side "RENAUD". Height: 67 cm. (Minor wear). Created in 1927, Vonnick's plaster study was produced in terra cotta and presented at the 1935 Salon. Our sculpture, unique and remarkable, is most probably the marble the marble presented at the Salon des Artistes Français in 1929. Vonnick, jeune fille de Daoulas, stands out as a delicate yet powerful sculpture, embodying the sensitive genius of Francis Renaud, where the purity of line to express the depth of the human soul. Vonnick is the synthesis between naturalism and geometric stylization, between the ancient and the modern, which the gentleness emanating from this young Breton woman makes clear and obvious. Last but not least, Vonnick is a unique sculpture carved in marble, a noble and difficult-to-tame material, the ideal crucible for this masterpiece of Breton sculpture. The son of shopkeepers based on rue Saint-Guillaume in Saint-Brieuc, Francis Renaud attended the municipal drawing school in Saint-Brieuc, then entered the Ecole des Beaux-Arts de Rennes as a painter in 1903, then the ENSBA in Paris in 1908, in Fernand Cormon's studio. It was only after his military service that Francis Renaud enrolled in Jean-Antoine Injalbert's sculpture studio. He exhibited at the Salon des Artistes Français, winning a gold medal in 1932. His works can be seen at the Musée des Beaux-Arts in Rennes, the Musée d'Art et d'Histoire in Saint-Brieuc, the Musée des Beaux-Arts in Quimper and the Musée Breton in Quimper. Bibliography : - JR Rotté, "Francis Renaud, sculpteur breton" in Briochin du temps passé, les cahiers de l'Iroise, 1985. - Collectif, under the direction of Philippe Le Stum, "La puissance et la grâce, sculpteurs bretons 1900-1950", Château de Kerjean, 1998.

Estim. 6 000 - 8 000 EUR

Thu 11 Jul

ANGELA CONNER (BRITISH B. 1935), ANDREW CAVENDISH, 11TH DUKE OF DEVONSHIRE - ANGELA CONNER (BRITISH B. 1935)ANDREW CAVENDISH, 11TH DUKE OF DEVONSHIRE Painted plaster 45cm (17½in.) High Angela Conner and Andrew Cavendish, the 11th Duke of Devonshire, became close friends after being introduced by Angela Conner's brother-in-law and playwright, John Osborne. From that first meeting, he was a keen collector of her work, at one point owning over forty of her sculptures, including busts of prominent British politicians, royalty, writers, and celebrities, as well as larger garden sculptures. Impressed by her work, Conner was then asked to produce portraits of the Duke of Devonshire himself and his Family, which were exhibited in 1975 at the Chatsworth Theatre Gallery alongside pictures by Lucian Freud. Cavendish was a British aristocrat and politician, best known for his contributions to the preservation and management of historic properties and cultural institutions in England. In addition to inheriting and restoring Chatsworth House in Derbyshire, he served as chairman of the Historic Houses Association and the Georgian Group, organisations dedicated to the preservation of historic buildings and landscapes in England. He was also actively involved in politics, serving as a Member of Parliament for almost twenty years and holding various government positions, including Minister of State for Commonwealth Relations. 'It's rather extraordinary how I came to meet her. I'd been to the theatre and [...] sat next to a lady who i'd never met before who said she was a sculptor, and just beginning to sculpt. Shes done a head of Roy Strong and I said I'd love to go and see it. [...] And that's how it all started.' The Duke of Devonshire, 3rd January 2001, from an interview with Helen Dempsey

Estim. 400 - 600 GBP
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