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Thu 06 Jun

Tschabalala SELF Keeper 2 - 2017-2020 Mirrored stainless steel, chains Signed and dated lower left (engraved) "Tschabalala Self 2020". 60 × 31 × 0.50 cm Mirror stainless steel, chains; signed and dated lower left (engraved) 23.62 × 12.20 × 0.20 in. Provenance : Pilar Corrias Gallery, London Acquired directly from the latter by the current owner Exhibitions : London, Pilar Corrias Gallery, Tschabalala Self: Bodega Run, September 7 - 27, 2017 Tschabalala SELF Born in 1990 in Harlem, a graduate of Bard College and the Yale school of Art, Tschabalala Self is an internationally renowned Afro-American artist. Beyond her status as an artist, she is a highly influential figure, appearing in Forbes magazine's famous 30 under 30 list in 2018. She has exhibited at the Flag Foundation (New York, 2024), Le Consortium (Dijon, 2021), Kunsthalle Düsseldorf (2021) and the Frye Art Museum (Seattle, 2019). His iconic sculpture Lady in Blue has just been selected for installation in Trafalgar Square in 2026. In the tradition of Romare Bearden's work, her use of materials is unconventional: she collects them and assembles them in what resembles patchworks. At the heart of her work and discourse is the representation of black women's bodies that "defy the narrow spaces in which they are forced to exist". Drawing on the history of African-American struggle and oppression in society, Self reclaims the black woman's body and depicts it outside any stereotype, "thus creating alternative narratives around the black body". Sometimes sexually explicit, the compositions aim to express the strength of the female subject, to give her back all her power. This work, entitled Keeper 2, was part of a landmark exhibition by artist Bodega Run, presented at Pilar Corrias Gallery in London in 2017. Through various installations (neon lights, sculptures, canvases) the artist reconstructs the world of the Bodega and looks again at the associated stereotypes to reconstruct its identity. Bodegas emerged with the arrival and settlement of Puerto Ricans and Dominicans in New York, and have traditionally been owned and operated by various communities of color. Found mainly in Black and Latino neighborhoods and occupying the main intersections of these areas, the bodega has become a geographical emblem of Manhattan's diaspora. "Keeper" appears floating, its mirror effect making it almost transparent. A figure both disquieting and protective, he is part of the fresco of characters reinterpreted by the artist. This sculpture reflects the artist's unique and delicate use of materials, as well as a strong desire to rewrite the history of the Afro-American community and deconstruct stereotypes. Born in 1990 in Harlem, and graduated from Bard College and the Yale school of Art, Tschabalala Self is an internationally renowned African-American artist. Beyond her status as an artist, she is also a highly influential figure, appearing in Forbes magazine's famous 30 under 30 list in 2018. Her exhibitions include the Flag Foundation (New York, 2024), Le Consortium (Dijon, 2021), Kunsthalle Düsseldorf (2021) and the Frye Art Museum (Seattle, 2019). His iconic sculpture Lady in Blue has just been selected for an installation in Trafalgar square in 2026. Inspired by the work of Romare Bearden, her use of materials is unconventional: she collects them and assembles them in what resembles patchworks. At the heart of her work and discourse is the representation of black women's bodies that "defy the narrow spaces in which they are forced to exist". Drawing on the history of African-American struggle and oppression in society, Self reclaims the black woman's body and depicts it outside any stereotype, "thus creating alternative narratives around the black body". Sometimes sexually explicit, the compositions aim to express the strength of the female subject, to give her back all her power. This work, entitled Keeper 2, was part of the artist's exhibition Bodega Run, presented at Pilar Corrias gallery in London in 2017. Through various installations (neon lights, sculptures, canvases) the artist reconstructs the world of the Bodega and looks again at the associated stereotypes to reconstruct its identity. Bodegas emerged with the arrival and settlement of Puerto Ricans and Dominicans in New York and have traditionally been owned and operated by various communities of color. Found primarily in the Black and Latino neighborhoods and occupying the main intersections of these areas, the bodega has become a geograph

Estim. 30 000 - 50 000 EUR

Thu 06 Jun

Christo Javacheff (Gabrovo, Bulgary, 1935 - New York, 2020) - Christo Javacheff (Gabrovo, Bulgaria, 1935 - New York, 2020) 'The Mastaba of Abu Dhabi.' Mixed media, drawing, collage, pencil, photography and oil on cardboard under plexiglass frame by the artist. Signed in pencil and dated 1979. 80 x 59,5 cm. Christo Vladimirov Javacheff, better known by his first name Christo, was a plastic artist famous for his large-scale artistic projects and international repercussion. After his name, in biographies, headlines of cultural magazines and newspapers, a verb appears conjugated: 'to wrap'; this is the term that summarizes his extensive, fruitful, complex and, at times, polemic career. To put this verb into practice, it is essential to consider another name: Jeanne-Claude; the artistic and vital companion of the Bulgarian creator. The three of them, Christo, Jeanne-Claude and 'wrap', amazingly converged in an original artistic practice characterized by its monumentality, by a great personality and by leaving no one indifferent. With it, they managed to transcend 'the traditional limits of painting, sculpture and architecture', as we read on their official website 'Christo and Jeanne-Claude'. Among their main works, we highlight 'Wrapped Coast' (1968-1969), where they wrapped 2. 4 km of Australian coastline near Sydney; 'The Pont Neuf Wrapped' (1975-1985), where they covered the oldest bridge in Paris with fabric; 'The Umbrellas' (1984-1991), the installation of blue and yellow umbrellas in valleys in Ibaraki (Japan) and California, respectively; 'Wrapped Reichstag' (1971-1995), the cladding of the German parliament; and 'L'Arc de Triomphe, Wrapped' (1961-2021), for the moment, the only project of the couple completed by their team, after the death of both (Jeanne-Claude in 2009 and Christo in 2020). Our piece, completed in 1979, is part of 'The Mastaba, Project for United Arab Emirates', the project to erect the Mastaba of Abu Dhabi. It is a work of special interest and of the utmost topicality for several reasons. Firstly, this project, which the artist couple undertook in 1977 without completing it during their lifetime, is officially their last project and the only one that is still being carried out by their team, led by Christo's nephew, Vladimir Yavachev. Secondly, it was precisely in 1979, the year of our work, when they visited the United Arab Emirates for the first time and when they decided on the colors and the placement of the steel barrels. Finally, 'La Mastaba' will be the only permanent large-scale public artwork.As Christo and Jeanne-Claude state on their website, the Abu Dhabi Mastaba 'will be the largest contemporary sculpture (in volume) in the world, made with 410,000 multicolored barrels to form a colorful mosaic, echoing Islamic architecture'. For more information, complemented by evocative photographs that take us through the entire process, we highly recommend consulting the artists' official website https://christojeanneclaude.net/artworks/the-mastaba/

Estim. 25 000 - 30 000 EUR

Fri 07 Jun

École française du XVIIIe siècle d'après Michel ANGUIER (1612-1686) - Quiet Amphitrite Bronze with brown patina H. 43 cm on a blackened wood and gilt bronze base H. 7 cm Related works: For the large version: - Michel Anguier, Amphitrite tranquille, bronze, H : 53 cm, Paris, musée du Louvre, département des objets d'art, inv.OA.11897 ; For the small version: -Michel Anguier, Amphitrite tranquille, bronze, H: 37 cm, Dresden, Grünes Gewölbe, inv.IX.62. Related literature: - Geneviève Bresc-Bautier, Guilhem Scherf, Bronzes français, de la renaissance au siècle des lumières, Paris, Musée du Louvre édition et Somogy, édition d'art, 2008, model listed under no. 55, pp. 206-207. If Michel Anguier is one of the custodians of the great style of Versailles sculpture inspired by François Girardon (1628-1715), he is also undoubtedly at the origin of the spread of and craze for independent bronze statuettes, a type of work he had the opportunity to admire in Italy, such as the famous ensemble in the Studiolo dei Medici in Florence. This art of the small amateur bronze, previously reserved for church decorations, developed in part thanks to the critical and commercial success of the famous Cycle des dieux et des déesses, designed by Anguier shortly after his return from Rome. On May 6, 1690, at the Académie Royale de Peinture et de Sculpture, Guillet de Saint Georges reported on this cycle: "M. Anguier was occupied in 1652 with the models of six figures, each 18 inches high (48.8 cm for the figure alone), which were cast in bronze and represent a thundering Jupiter, a jealous Juno, an agitated Neptune, a tranquil Amphitrite, a melancholy Pluto, a Mars who leaves the arms and a grieving Ceres ( ... )". (Mémoires inédites, 1855 p. 438). Amphitrite holds a crayfish in her arm, which, according to Piganiol de la Force, "marks the authority she had over [the ocean]". Her smiling, almost amused tranquility as she watches the crustacean evolve on her arm, and her serene expression, probably explain why this model remained in favor until the end of the 18th century. Unusually, the bronze version was enlarged and used as a model in 1680 for a marble statue created by Nicolas Massé for the gardens of Versailles (inv. MR1753, in the Louvre). The attitude and gesture of Neptune's companion demonstrate Michel Anguier's perfect knowledge of the Farnese Flora, a cast of which he owned. The full, rounded face with its short forehead, and the complexity of the hairstyle encircled by three ribbons, recall Anguier's training with Simon Guillain and evoke the French Renaissance.

Estim. 6 000 - 8 000 EUR

Fri 07 Jun

Jean-Baptiste Carpeaux (1827-1875) Crouching Flora n°1 Circa 1870 Bronze with brown patina Signed "Carpeaux. SC. " Stamped "PROPRIETE CARPEAUX". H. 51 cm This crouching Flora is an adaptation of the Triomphe de Flore figure created as part of a series of sculptures commissioned from Jean-Baptiste Carpeaux by Napoleon III in 1863 to adorn the south façade of the Pavillon de Flore in the Louvre. Carpeaux was already thinking of publishing the model in 1869. Our bronze is part of the first edition of the model produced by the sculptor's studio from 1869 onwards. The family first, then the Susse firm, continued to publish this emblematic work by the Valenciennes sculptor. Related works : - Jean-Baptiste Carpeaux, Le Printemps dit Flore accroupie, 1870, terracotta proof, signed "JBt Carpeaux" on the terrace, H. 52 x W. 31 x D. 30 cm, Valenciennes, Musée des Beaux-Arts, inv. 98.26.7. - Jean-Baptiste Carpeaux, Le Printemps dit Flore accroupie, 1873, marble, signed "JBt Carpeaux" and inscribed "Baudet. Paris", H. 104.2 x W. 56.4 x D. 69.4 cm, Valenciennes, Musée des Beaux-Arts, inv. S.Y.123. - Jean-Baptiste Carpeaux, Flore accroupie, circa 1869, plaster, signed "J.B.Carpeaux", H. 52 x W. 29 x 32 cm, Paris, Petit Palais, Musée des Beaux-Arts de la ville de Paris, inv. PPS1565. Related literature : Michel Poletti, Alain Richarme, Jean-Baptiste Car- peaux, sculpteur. Catalog raisonné de l'œuvre édité, Paris, Les Expressions Contemporaines, 2003, model listed under no. SE 10, p. 87.

Estim. 25 000 - 30 000 EUR

Fri 07 Jun

Edgar Degas (1834-1917) Portrait, head resting on one hand, before 1885 Bronze proof Lost-wax casting by A.A. Hébrard, between 1921 and 1932 Inscriptions on right shoulder: Degas (stamp) Inscriptions on left shoulder: "62/K - CIRE / PERDUE / A.A. HEBRARD". Label inside, almost illegible: "DOUANES / PARIS / EXPOSITIONS". 12.3 x 17.5 x 16.2 cm Provenance: Glasgow, Cargill collection France, private collection (inherited) While portraiture is a genre that occupies Degas intensely in painting, making him one of the greatest portraitists in the history of modern art, sculpted portraits are rare. Two other sculpted portraits are known to date, thanks to the edition. For Portrait, tête appuyée sur une main, the subject is not so much the model, whose studies suggest several hypotheses, but the movement. This sculpture bears witness to the artist's personal quest to capture an attitude, as in the case of dancers' bodies, women in motion or horses. A softness emanates from this sculpture, as much from the intimate subject as from the oblique composition and fluid modeling, alternating between precision on the face and blurred details on the hair and bodice. Like Degas' other models, the bronze edition of the model includes 22 copies (A to T and HER and HERD), plus the MODELE at the Norton Simon in Pasadena and the unlocated copy marked AP by Albino Palazzolo. 14 examples are currently unlocated (in private collections). Six are in museums: ◆ Metropolitan Museum of Art, New York, USA (A) ◆ Hannema - De Stuers Fundation, Heino, Netherlands (F) ◆ Museum of Fine Arts, Boston, United States (H) ◆ Musée d'Orsay, Paris, France (P) ◆ Ny Carlsberg Glyptotek, Copenhagen, Sweden (R) ◆ Museu de Arte, Sao Paulo, Brazil (S) This copy, numbered "K", comes from the Cargill collection in Glasgow, Scotland. Director of the Burmah oil company, founded by his father Davis S. Cargill, William Trail Cargill (1872-1939) built up one of the finest collections of French Impressionist and modern art in Scotland. He bought mainly from the Glasgow-based dealer Alexander Reid. Between 1918 and 1927, he acquired works by Daumier, Boudin, Manet, Monet and Degas, among others. In 1923 in London and 1924 in Glasgow, Reid joined forces with the Leicester Galleries to present an exhibition of Degas' bronze sculptures, including 37 dancers, 17 horses, 14 studies of women, 3 bust portraits and 1 bas-relief. Portrait, tête appuyée sur une main is listed at no. 71 in the catalog. It was probably acquired on this occasion by D. W. T. Cargill from the dealer Alexander Reid. An old customs label is still present inside the sculpture. The sculpture later returned to France by inheritance. Related literature: - Exhibition of the Works in Sculpture of Edgar Degas, February-March 1923, London, The Leicester Galleries, preface by Walter Sickert, no. 71. - Rewald, John, Degas, works in sculpture, a complete catalog, Pantheon Books Inc, New York, 1944, p.82, pl XXIX, repr. - Pingeot, Anne and Horvat, Frank, Degas, sculptures, RMN, 1991, p.187, n°71 and p.145, repr. (Proof 62/P) - Fowle, Frances, Alexander Reid in context: Collecting and dealing in Scotland in the late 19th and early 20th Centuries, thesis, 1993, University of Edinburgh. - Czestochowski, Joseph S., Pingeot, Anne, Degas, Sculptures, Catalogue Raisonné of the Bronzes, National Museum of San Carlos, Mexico City, June 10-September 15, 2002, Memorial Art Gallery, University of Rochester, New York, October 10, 2002-January 12, 2003, San Diego Museum of Art, June 28-September 28, 2003, Fin Arts Museums of San Francisco, Legion of Honor, October 18, 2003-January 18, 2004, p.242-243, no. 62, repr. - En Passant, Impressionism in sculpture, edited by Alexander Eiling and Eva Mongi-Vollmer, Frankfurt am Main, Städel Museum, March 19 - June 28 2020, Prestel, p.155, repr. Cat.69, (proof Museum de Fundatie de Zwolle and Heino/Wijhe 62/F).

Estim. 35 000 - 50 000 EUR

Fri 07 Jun

Émile-Antoine Bourdelle (1861-1929) Left hand of the Great Warrior of Montauban, 1898 Bronze proof, no. 1 Susse lost-wax casting Signed and numbered at the base on the back "© BY BOURDELLE N°1". Founder's mark on base and back: "SUSSE Fondeur Paris". Monogrammed on base right 58 x 43 x 23.5 cm Provenance: New York, Recanati Collection La Main Gauche du Grand Guerrier de Montauban is taken from the Monument aux Combattants et aux Défenseurs du Tarn-et-Garonne de 1870 et 1871, commissioned from Bourdelle by the Société des Anciens Combattants de Montauban in 1895. This first major commission for the sculptor was the subject of numerous studies, with fragments of the monumental composition becoming genuine works of "independent existence" (1990, Orsay), such as La Main. This numbered copy (1), cast by Susse, comes from the Recanati collection and is listed as number 199 in the second English-language version of the catalog of sculptures published by Ionel Jianou and Michel Dufet (p.84). Five other proofs are known to exist, including two at the Musée Bourdelle and one at the Museum of Modern Art in New York, and two more in private collections. A plaster edition of Le Main gauche du Grand Guerrier de Montauban is also in the Musée Bourdelle. Related literature: - Bourdelle, galerie Claude Bernard, Paris, 1967. - Jianou, Ionel and Dufet, Michel, Bourdelle, 2nd edition in English with completed and numbered sculpture catalog, Arted, 1978, no. 199. - Le corps en morceaux, Musée d'Orsay, 1990. - Susse Frères, 150 years of sculpture 1837-1987, Pierre Cadet, Susse Frères, Paris, 1992. - Staub, Helena, Bourdelle et ses élèves : Giacometti, Richier, Gutfreund ; musée Bourdelle, Paris, October 28, 1998-February 7, 1999, p.67, no. 26, repr. (Bronze proof, Rhodia Dufet-Bourdelle collection) - De bruit et de fureur, Bourdelle sculpteur et photographe, exhibition catalog, Montauban, musée Ingres, June 24-October 9, 2016, Paris, musée Bourdelle, October 27, 2016-January 29, 2017, Éditions Le Passage, 2016, p.209, cat.103 (Plaster from musée Bourdelle)

Estim. 20 000 - 30 000 EUR

Fri 07 Jun

Paul Landowski (1875-1961) The sons of Cain: the shepherd Circa 1910 Bronze with brown patina Signed "P. Landowski Bears the founder's stamp "CIRE PERDUE A.A. HEBRARD" and the number "(2)". H. 48.5 cm, terrace W. 21 x D. 31.5 cm This young shepherd is one of the figures in the group Les Fils de Caïn (Sons of Cain), sculptor Paul Landowski's final shipment from Rome and part of the monumental Temple de l'Homme project. The group represents three men of different ages, embodying humanity on the move. Our bronze features the young shepherd Jabel, the embodiment of physical strength, while the other two, Jubal, the first poet, and Tubalcain, the blacksmith, represent the strength of thought and the power of work. Paul Landowski's models for this biblical group were men he had met in the Roman countryside. The bronze, based on a plaster cast made in Rome, was exhibited at the 1906 Salon, where the sculptor was awarded a first-class medal and praised by both the Académie and the critics. Acquired by the State the same year, the bronze group was installed in the Cour Napoléon, then moved to the Jardin des Tuileries. Related works - Paul Landowskin Les fils de Caïn : le berger, circa 1903, plaster, H. 73,5 x W. 30 x D. 42 cm, Paris, Petit Palais, PPS3657(1) ; - Paul Landowski, Les Fils de Caïn, 1903, bronze, Paris, Jardin des Tuileries, - Paul Landowski, Les Fils de Caïn, 1903, bronze, cast by A.A. Hébrard, size: 77 x 88 x 47 cm, Boulogne-Billancourt, Musée-jardin Paul Landowski, inv. 1982.1.42. Related literature: - Michèle Lefrançois, Le Temple de l'Homme de Paul Landowski : un projet d'art total, in Histoire de l'art, n°3, 1988, pp. 77-88. - Dominique Boudou, Michèle Lefrançois, Paul Landowski, le temple de l'homme, cat. exp., Paris, Petit Palais, December 7, 1999-March 5, 2000, Paris, Paris-Musées, 1999, models listed under nos. 35 and 36, p. 112 and p. 114, pp. 112-119. - Paul Landowski: la pierre d'éternité, cat. exp. Péronne, Historial de la Grande Guerre, March 2-April 25, 2004, Paris, Somogy éd. D'art, 2004, p. 53 - Michèle Lefrançois, Paul Landowski: l'œuvre sculpté, Grâne, ed. Créphis, 2009, pp. 110-113

Estim. 25 000 - 30 000 EUR

Fri 07 Jun

Henri Bouchard (1875-1960) Young dressed girl and gazelle Model created in 1912 Green patina bronze Signed "H. Bouchard Bears the founder's stamp "CIRE PERDUE BISCEGLIA". H. 62 x W. 62 x D. 18 cm While we are mainly familiar with his realist work, influenced by Jean-François Millet, Constantin Meunier and Aimé-Jules Dalou, animal subjects also play an important role in Henri Bouchard's work. Alone or accompanied, as here with a young girl in a tunic, the animal theme was addressed by Bouchard mainly between 1909 and 1912. He created his sculptures from memory, having observed and studied animals at the Jardin des Plantes, in the countryside or at agricultural and equestrian competitions. Henri Bouchard used this composition for other groups, such as Fillette et faon (Roubaix, La Piscine, Musée d'art et d'industrie André Diligent, inv. 2014-54-3) and a version of Jeune fille nue et gazelle made in 1909. Related works - Henri Bouchard, Jeune fille vêtue et gazelle, 1912, bronze, Bisceglia lost-wax casting, signed "Bouchardx", H. 62 x W. 62 x D. 18 cm, Roubaix, La Piscine, musée d'art et d'industrie André Diligent, inv. 2014-54-4. - Henri Bouchard, Femme à la gazelle, 1912, bronze, signed "H. Bouchard", Siot cast, H. 62 x W. 62 x D. 17 cm, Roubaix, La Piscine, Musée d'art et d'industrie André Diligent, inv. 2007-51-2. - Henri Bouchard, Jeune fille et gazelle (nue), 1909 bronze, Bisceglia lost-wax casting, signed "H Bouchard", Roubaix, La Piscine, Musée d'art et d'industrie André Diligent, inv. 2014-54-5. Related literature: Antoinette Le Normand-Romain, Bouchard, l'atelier du sculpteur: à la découverte du musée Bouchard, Paris, Association des amis d'Henri Bouchard, 1995, p. 76.

Estim. 15 000 - 20 000 EUR

Fri 07 Jun

Jean Osouf (1898-1996) Coralie, half-figure, 1935-1945 Bronze proof Lost-wax casting 32 x 12 x 9 cm Provenance : Sweden, private collection Coralie posed for Jean Osouf between about 1935 and 1945. During this ten-year period, Osouf created a large number of sculptures in which he interpreted the attitudes and expressions of his model: figures of Naïade, Baigneuse, Jeune fille, Buste de Coralie dit Petite reine, Buste de Coralie couronnée, Masque de Coralie dit Épiphanie... The Musée des Beaux-Arts d'Alger holds a Baigneuse, the Musée d'Art et d'Histoire de Belfort two Buste de Coralie and the Musée d'Art moderne de la Ville de Paris a Buste de Coralie couronnée. Cut above the knees, this figure of Coralie is to be compared with the complete figure of Coralie dated 1935, a bronze of which is kept at the Musée des Beaux-Arts de Reims. The Musée des Beaux-Arts de Reims also holds a Baigneuse, a study of Coralie, where the cutout at thigh level creates an even shorter torso. Each of the three works also features subtle variations, such as the hairstyle. Related literature: : - Robert Couturier, Jean Osouf, Club Français de la Médaille, n°59/60, 2nd quarter 1978, p.26-27. - Jean Perrin, Jean Osouf, sculpteur, Société d'Histoire et d'Art de la Brie et du pays de Meaux, Meaux 1981. - Jean Osouf, Paris, Martel-Greiner Gallery, 2000. - Anne Pingeot, Bonnard sculpteur. Catalog raisonné, Musée d'Orsay, Éd. Nicolas Chaudun, 2006 (p. 56 to 62).

Estim. 4 000 - 6 000 EUR

Fri 07 Jun

Jean Carton (1912-1988) Simone à la toilette, 1979 Black patina bronze proof, no. 8/10 Émile Godard lost-wax casting Foundry stamp on edge of base at rear Signed on the terrace: "J. Carton". 56 x 24 x 24 cm Related literature: - "23 hommages à Jean Carton (1912-1988)", Connaissance des Hommes, n°129, March-April 1989, p.17-21, repr. - Carton, Sculpture, Sanguines, Estampes, Paris, Galerie Art France, October-November 1980, repr. - Carton, Quimper, Musée des Beaux-Arts, October 15-December 13 1982, no. 51. - Jacques Trémolet, "Jean Carton est mort", Permanences, n°257, December 1988, pp. 4-7, repr. - Roger Passeron (Préf.), Jean Carton, Sculptures-Dessins-Gravures, Chambéry, musée d'art et d'histoire ; Mont-de-Marsan, musée Despiau-Wlérick, July-December 1989, repr. - Hommage à Jean Carton- École de Moret, Biennale de Fontainebleau, Théâtre de Fontainebleau, June 13-July 3, 1994, repr. Exhibitions : - Carton, Sculpture, Sanguines, Estampes, Paris, Galerie ArtFrance, October-November 1980. Model shown: fonte Godard- h.57cm. - Hommage à Jean Carton- École de Moret, Biennale de Fontainebleau, Théâtre de Fontainebleau, June 13-July 3, 1994. Model exhibited: 3/8 Coubertin cast- h. 68cm (n°7). - Jean Carton, Sculptures-Dessins-Gravures, Chambéry, musée d'art et d'histoire ; Mont-de-Marsan, musée Despiau-Wlérick, July-December 1989. Models on display: 1/8 Godard cast- 29.5 cm (n°32) and 3/8 Coubertin cast- h. 68cm (n°35). A student of Charles Malfray and Robert Wlérick at the École des Arts Appliqués in Paris, Carton joined the studio of sculptor Marcel Gimond at the École des Beaux-Arts de Paris on their advice. The end of the Second World War marked the beginning of Carton's intense production and recognition. He exhibited in France and abroad, in Lebanon, the United States and Japan. Jean Carton won several awards: in 1946, the Prix Blumenthal, awarded by Germaine Richier, Robert Couturier and Marcel Gimond; in 1949, the Prix-bourse de la villa Abd-el-Tif in Algiers; in 1958, the Silver Medal at the Brussels Universal Exhibition. In 1964, he was elected to the Académie des Beaux-Arts de Paris. Jean Carton's greatest concern is to work from life. He trusts only his eye, because, he says, "working without a model inevitably leads you back to forms already made by others. From then on, he felt the impetuous need to "give life to forms" (Passeron, 1989) and centered his work around the human figure, mainly female. To capture and reveal this hidden life, he chose simple postures, sculpting ordinary gestures: a woman stretching (La Petite Marèze, 1969), holding her breast (La Jeunesse, 1948), a man walking (Patrice en mouvement, 1970). La femme penchée se tenant le pied, also known as Simone à la toilette, was created in 1979. Between 1965 and 1980, Jean Carton created most of his major sculptures: La Pensée (1965), L'Adolescent (1971), L'Athlète vaincu (1975) and L'Offrande (1979). During these years, he shifted his focus from the identity of the model to the inner or outer movements that animate the being in general. Carton produced Simone à la toilette in three sizes: 29.5 cm (Émile Godard fonts), 57 cm (Émile Godard fonts) and 68 cm (Coubertin fonts).

Estim. 4 000 - 6 000 EUR

Fri 07 Jun

Charles Auffret (1929-2001) Bacchante, 1969 Black patina bronze proof, n°3/8 Lost-wax casting Jean-Marc Bodin Foundry stamp (on the edge of the right-hand terrace) Signed (on the edge of the terrace): "CH. AUFFRET 38 x 17 x 13 cm Related literature : - Charles Auffret (1929-2001): sculpteur et dessinateur, cat. exhibition, Mont-de-Marsan, Musée Despiau-Wlérick (August 10-September 16, 2012), Mont-de-Marsan, L'Atelier des Brisants; Paris, galerie Malaquais, 2012, repr. - Charles Auffret (1929-2001), Sculptures-dessins, Voron, Musée Mainssieux, 2002, repr. After immersing himself in Burgundian sculpture while studying at the École des Beaux-Arts in Dijon, Charles Auffret continued his training at the École Nationale des Beaux-Arts in Paris. In 1958, he set up his studio in the Buttes-Chaumont district and discovered the work of Charles Despiau, Robert Wlérick and Charles Malfray. In 1964, he was awarded the Prix Godard by the Groupe des Neuf, founded in 1963 under the aegis of Juliette Darle. Jean Carton, Raymond Martin, Marcel Damboise, Paul Cornet, Raymond Corbin, Léon Indenbaum, Léopold Kretz, Gunnar Nilsson and Jean Osouf, heirs to Wlérick, Despiau, Malfray and Gimond, united around a common conception of sculpture, reaffirming their direct filiation with so-called "independent" sculpture. He went on to win several awards, including the Ricard Foundation's International Sculpture Prize in 1965, the Gold Medal of the Salon des Artistes Français in 1975, and the Baudry Sculpture Prize in 1986. He received several private commissions, such as L'Éveil in 1966, and public ones, such as L'Esprit des Lois for the French Senate in 1985. Monographic exhibitions were organized in 1972 at the Orangerie du Luxembourg and in 1974 at the Atelier de Ville-d'Avray. After his death, several retrospectives paid tribute to his work: at the Musée Mainssieux in Voiron, at the Villa Médicis in Rome and at the Musée Despiau-Wlérick in Mont-de-Marsan. La Bacchante is part of the cycle of draped women that Auffret created in various postures, such as Figure drapée (circa 1960) and Figure drapée, ou La Médiation (1965). They reflect Auffret's mastery of modelling. The sculptor transcribes the fragile balance of this seated bacchante with delicacy and firmness. The raised leg and slender bust give the model an élan that the sculptor translates with great vitality.

Estim. 3 000 - 4 000 EUR

Fri 07 Jun

Charles Auffret (1929-2001) La Prière, circa 1965 Bronze proof, EA III/IV Bodin lost-wax casting Signed on the side of the base "CH. AUFFRET 43 x 10 x 10 cm The Prayer, whose silent posture conveys a sense of humility and contemplation, was Charles Auffret's first idea for the sycamore Virgin commissioned for the church in Rochefort-en-Yvelines. In the end, the Rochefort-en-Yvelines Virgin, still in place, does not depict a woman in prayer, but a woman placing her hands on her heart. Related literature: Figure drapée in Charles Auffret, cat.exp., Rome, Villa Médicis (May 9-July 15, 2007), Éditions Somogy, Paris, repr. p.38. After immersing himself in Burgundian sculpture while studying at the École des Beaux-Arts in Dijon, Charles Auffret joined the École Nationale des Beaux-Arts in Paris in 1947. There, he studied monumental art. He took monumental art classes in Alfred Jeanniot's studio and attended those of Marcel Gimond. In 1958, he set up his studio in the Buttes-Chaumont district and discovered the work of Charles Despiau, Robert Wlérick and Charles Malfray. In 1964, he was awarded the Prix du Groupe des Neuf. Following in the footsteps of the Schnegg Gang half a century earlier, the Groupe des Neuf was formed in 1963. Jean Carton, Raymond Martin, Marcel Damboise, Paul Cornet, Raymond Corbin, Léon Indenbaum, Léopold Kretz, Gunnar Nilsson and Jean Osouf, heirs to Wlérick, Despiau, Malfray and Gimond, united around a common conception of sculpture, reaffirming their direct filiation with so-called "independent" sculpture. The following year, winner of the Paul Ricard Foundation's International Sculpture Prize, Charles Auffret was invited to take up residence on the Ile de Bendor with his sculptor wife Arlette Ginioux. There, he erected a monumental sculpture known as L'Éveil, a major work. He took part in numerous exhibitions in France and abroad, and taught drawing at the Malebranche academy and the Beaux-Arts de Reims before being appointed professor at the École nationale supérieure des Arts Décoratifs. After his death, several retrospectives paid tribute to his work: the Musée Mainssieux in Voiron, the Villa Médicis in Rome and the Musée Despiau-Wlérick in Mont-de-Marsan.

Estim. 3 000 - 4 000 EUR

Fri 07 Jun

Charles AUFFRET (1929-2001) Femme à la toilette, second version, circa 1990 Bronze proof, n°1/8. Bodin lost-wax casting. Foundry stamp (on the edge of the terrace). Signed and numbered (on the terrace): CH. AUFFRET. 55 x 36 x 22 cm PROVENANCE: artist's studio La Femme à la toilette marks the beginning of Charles Auffret's career and reveals him to the public. It already displays all the characteristics of his style: an "impressionist" sculpture with a very tender view of women. With this work, Charles Auffret was awarded the Prix Godard in 1964. The jury, made up of independent sculptors known as the Groupe des Neuf, rewarded him with a bronze cast of his sculpture. At the end of his life, Charles Auffret enlarged his Femme à la toilette and reworked it into a second version, 56 cm high. Compared with the 1964 work, this second version reflects a search for simplification (the openings under the shoulder and at the raised foot have been closed). After immersing himself in Burgundian sculpture while studying at the École des Beaux-Arts in Dijon, Charles Auffret joined the École Nationale des Beaux-Arts in Paris in 1947. There, he studied monumental art. He took monumental art classes in Alfred Jeanniot's studio and attended those of Marcel Gimond. In 1958, he set up his studio in the Buttes-Chaumont district and discovered the work of Charles Despiau, Robert Wlérick and Charles Malfray. In 1964, he was awarded the Prix du Groupe des Neuf. Following in the footsteps of the Schnegg Gang half a century earlier, the Groupe des Neuf was formed in 1963. Jean Carton, Raymond Martin, Marcel Damboise, Paul Cornet, Raymond Corbin, Léon Indenbaum, Léopold Kretz, Gunnar Nilsson and Jean Osouf, heirs to Wlérick, Despiau, Malfray and Gimond, united around a common conception of sculpture, reaffirming their direct filiation with so-called "independent" sculpture. The following year, winner of the Paul Ricard Foundation's International Sculpture Prize, Charles Auffret was invited to take up residence on the Ile de Bendor with his sculptor wife Arlette Ginioux. There, he erected a monumental sculpture known as L'Éveil, a major work. He took part in numerous exhibitions in France and abroad, and taught drawing at the Malebranche academy and the Beaux-Arts de Reims before being appointed professor at the École nationale supérieure des Arts Décoratifs. After his death, several retrospectives paid tribute to his work: the Musée Mainssieux in Voiron, the Villa Médicis in Rome and the Musée Despiau-Wlérick in Mont-de-Marsan.

Estim. 4 000 - 6 000 EUR

Fri 07 Jun

Charles Auffret (1929-2001) Bust of a little girl, circa 1970 Bronze proof, n°1/8 Bodin lost-wax casting Signed "CH. AUFFRET 18 x 12 x 13 cm After immersing himself in Burgundian sculpture while studying at the École des Beaux-Arts in Dijon, Charles Auffret joined the École Nationale des Beaux-Arts in Paris in 1947. There, he studied monumental art. He took monumental art classes in Alfred Jeanniot's studio and attended those of Marcel Gimond. In 1958, he set up his studio in the Buttes-Chaumont district and discovered the work of Charles Despiau, Robert Wlérick and Charles Malfray. In 1964, he was awarded the Prix du Groupe des Neuf. Following in the footsteps of the Schnegg Gang half a century earlier, the Groupe des Neuf was formed in 1963. Jean Carton, Raymond Martin, Marcel Damboise, Paul Cornet, Raymond Corbin, Léon Indenbaum, Léopold Kretz, Gunnar Nilsson and Jean Osouf, heirs to Wlérick, Despiau, Malfray and Gimond, united around a common conception of sculpture, reaffirming their direct filiation with so-called "independent" sculpture. The following year, winner of the Paul Ricard Foundation's International Sculpture Prize, Charles Auffret was invited to take up residence on the Ile de Bendor with his sculptor wife Arlette Ginioux. There, he erected a monumental sculpture known as L'Éveil, a major work. He took part in numerous exhibitions in France and abroad, and taught drawing at the Malebranche academy and the Beaux-Arts de Reims before being appointed professor at the École nationale supérieure des Arts Décoratifs. After his death, several retrospectives paid tribute to his work: the Musée Mainssieux in Voiron, the Villa Médicis in Rome and the Musée Despiau-Wlérick in Mont-de-Marsan.

Estim. 2 000 - 3 000 EUR

Fri 07 Jun

Charles Auffret (1929-2001) Bust of Jean-Baptiste 1972 Numbered bronze proof, n°3/8 Rosini lost-wax casting Signed "CH. AUFFRET 34 x 15.5 x 12.5 cm After immersing himself in Burgundian sculpture while studying at the École des Beaux-Arts in Dijon, Charles Auffret joined the École Nationale des Beaux-Arts in Paris in 1947. There, he studied monumental art. He took monumental art classes in Alfred Jeanniot's studio and attended those of Marcel Gimond. In 1958, he set up his studio in the Buttes-Chaumont district and discovered the work of Charles Despiau, Robert Wlérick and Charles Malfray. In 1964, he was awarded the Prix du Groupe des Neuf. Following in the footsteps of the Schnegg Gang half a century earlier, the Groupe des Neuf was formed in 1963. Jean Carton, Raymond Martin, Marcel Damboise, Paul Cornet, Raymond Corbin, Léon Indenbaum, Léopold Kretz, Gunnar Nilsson and Jean Osouf, heirs to Wlérick, Despiau, Malfray and Gimond, united around a common conception of sculpture, reaffirming their direct filiation with so-called "independent" sculpture. The following year, winner of the Paul Ricard Foundation's International Sculpture Prize, Charles Auffret was invited to take up residence on the Ile de Bendor with his sculptor wife Arlette Ginioux. There, he erected a monumental sculpture known as L'Éveil, a major work. He took part in numerous exhibitions in France and abroad, and taught drawing at the Malebranche academy and the Beaux-Arts de Reims before being appointed professor at the École nationale supérieure des Arts Décoratifs. After his death, several retrospectives paid tribute to his work: the Musée Mainssieux in Voiron, the Villa Médicis in Rome and the Musée Despiau-Wlérick in Mont-de-Marsan.

Estim. 3 000 - 4 000 EUR
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