ANNA QUINQUAUD (1890-1984) - COLLECTION PIERRE & SUZANNE RAZAFY-ANDRIAMIHAINGO (1914-1997) & (1916-2000) - THEN BY DESCENT Rencontre Mahafaly, the model designed around [1933], presented at the Galerie Charpentier in Paris in 1934 and at the Galerie Le Folklore in Limoges in 1943, the only bronze proof of this model known to date. Sculpted group. Proof in bronze with a shaded green patina. Lost-wax casting. Early edition. Signed and dated A. QUINQUAUD 1933 and bears the founder's stamp C. VALSUANI Cire perdue on the terrace, marked or monogrammed E.T. au tas à l'envers on the edge of the terrace on one side. Height: 58.5cm Terrace: 31x15cm Provenance: Pierre & Suzanne Razaf - Pierre & Suzanne Razafy-Andriamihaingo Collection (1914-1997) & (1916-2000); important Malagasy personalities of the 20th century. Pierre Razafy-Andriamihaingo- student at the École Nationale des Beaux-Arts in Paris, ENA graduate, Resistance fighter, DPLG architect in Paris (1940-1946), Director of Architecture, Urban Planning and Housing in Madagascar (1946-1956), diplomat (ambassador to Greece, Italy, Israel, etc.) (1959-1965), liberal architect and professor in Paris (1965-1970), liberal architect in Tananarive (1970 and after). Suzanne Razafy-Andriamihaingo- graduate of the École du Louvre, chargé de mission at the Musée de Versailles et des Trianons, cultural attaché, then curator of the Musée du Palais de la Reine in Antananarivo, Resistance fighter, author. - Then by descent. Public collection: Musée des Beaux-Arts, Brest - The plaster proofs of the figure of the young girl and the young man (fractured group) are preserved in the collections of this institution. Exhibitions: - Anna Quinquaud. Mer Rouge et île Rouge, sculptures - Dessins - Galerie Jean Charpentier, Paris, June 2-17, 1934. A proof (plaster or bronze) of our sculpture model exhibited at this event (N°61). - Exhibition Anna Quinquaud. Sculptures - Galerie Le Folklore, Limoges, 1943. A proof (plaster or bronze) of our sculpture model exhibited at this event (N°16). Bibliography: - Anne Doridou-Heim - Anna Quinquaud, exploratrice, sculptrice - Voyage dans les années 30 - Somogy Éditions d'Art, Paris, 2011. An identical model (or our work) referenced under catalog number 96 and reproduced in a period photograph on page 128; a plaster proof of the figure of the young girl referenced under catalog number 96a and reproduced on page 128. - Marie-Josèphe Conchon - Thérèse et Anna Quinquaud, la sculpture en partage - Les Ardents Éditeur, Limoges, 2022. A period photograph showing a young Mahafaly woman and her child posing in front of the sketch of the girl's figure reproduced on page 158. Anna Quinquaud (1890-1984) - Madagascar Born into an artistic family, Anna Quinquaud learned sculpture at an early age from her mother, Thérèse Caillaux (1859-1928), herself a pupil of Rodin (1840-1917) and colleague of Camille Claudel (1864-1943)1. Under the aegis of this apprenticeship, that of Blanche Laurent and the École des Beaux-Arts, which she entered in 1918, the young Quinquaud quickly developed a unique sculptural style, which earned her the second Prix de Rome in 1924. Rejecting the traditional stay at the Villa Médicis, she opted instead for the African adventure - which would decide the plastic orientation and affirmation of her art. Between 1925 and the mid-1930s, Anna Quinquaud discovered French Sudan, Guinea, Niger and Madagascar. As she traveled through these territories, she sculpted and drew the peoples she met. Fascinated by the many ethnic groups she encountered, she sought to model their faces, attitudes and attributes. Far from caricatures, Anna Quinquaud's sculpture tends to capture the very essence of the figures. Inspired by reflections on primitive art and cubism, she translates her subjects into her own unique architecture of form. At the Mes travaux de voyage exhibition in 1926, the artist presented works from her first stay. Such was her success that two of the sculptures presented at this event, including the Songoï Water Carrier, were among the models chosen by the Manufacture nationale de Sèvres for a ceramic edition - to which four other models were subsequently added. Winning the Prix de Madagascar in the early 1930s, she made her third trip to the island, teaching at the École des Beaux-Arts d'Antananarivo, founded a few years earlier. Madagascar and its inhabitants inspired many of her models, such as the Rencontre Mahafaly, a sculpted group featuring a man and a woman from this ethnic group.