Sculpture and Bronze
Two to four cataloged auctions each year
After having long been confined to a decorative role, sculptural works are now regaining their place among the major art forms, particularly in public auctions. Recent advances in research are providing an increasing number of tools and insights into the history of sculpture, enabling us to provide comprehensive documentation on each piece: the artist’s name, identification of the foundry mark, details on the edition, and more. All of this information makes it possible to accurately appraise and authenticate the works presented at auctions.
A Word from the Experts
“Sculpture is at the heart of today’s cultural scene. There are more and more dedicated exhibitions, and museums are no longer limiting themselves to major sculptors. Less well-known artists, who are not familiar to the general public, are being highlighted, such as the Italian sculptor Vincenzo Gemito (1852–1929), to whom the Petit Palais dedicated an exhibition in 2020. The art market is actively contributing to this new visibility for sculptural works, which is leading, in particular, to the rediscovery of forgotten or lost pieces. In the modern bronzes section, while Rodin’s work tended to overshadow that of his contemporaries, art lovers are now rediscovering other sculptors associated with the master, such as Joseph Bernard, Antoine Bourdelle, Charles Despiau, and, of course, Camille Claudel...”
Contacts
Marc Guyot
marc.guyot@ader-paris.fr
Ekaterina Gorshkova
egorshkova@ader-paris.fr
3 Rue Favart, 75002 Paris
Phone: +33 (0)1 53 40 77 10
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Charles Cordier (1827-1905 )Arab of el AghouatCirca 1856Bronze head model with brown patina H : 48 cm with blackened wood pedestal H : 14 cmProvenance : Family of the artist by descent. The export certificate n° 229704 of the work will be given to the buyer. Related works: - Charles Cordier, Arabe d'el Aghouat, 1856, bronze bust, H. 56 cm, Paris, Musée de l'Homme, inv. 27045-1977-201; - Charles Cordier, Arabe d'el Aghouat, 1856, bronze and marble-onyx bust, H. 72,2 cm, Paris, Musée d'Orsay, inv. RF 3598. Related literature: Laure de Margerie, Édouard Papet, Charles Cordier, 1827-1905: the other and the elsewhere, cat. exp, Paris, Musée d'Orsay, 2 February-2 May 2004, Quebec, Musée national des Beaux-arts, 10 June-6 September 2004, New York, Dahesh museum of Art, 12 October 2004-9 January 2005, Paris, Éditions de la Martinière, 2004, models listed from no. 16 to no. 30, pp. 146-148. Cordier executed this portrait during his second stay in Algeria, between April and October 1856 . He presented a bronze version at the 1857 Salon (no. 2812) and a bronze and marble-onyx version at the 1860 exhibition at the Galerie ethnographique (no. 1). In the catalogue raisonné published for the 2004 exhibition Charles Cordier, l'autre et l'ailleurs at the Musée d'Orsay, Jeannine Durand-Révillon and Laure de Margerie list eleven examples of the Arab of el Aghouat. All different, dressed in marble or marble and porphyry, they are paired with the Sudanese Negro or reunited to form the Three Great Races with the latter and the Chinese. Under n° 28 of the same catalogue the authors reproduce an old photo of Cordier's workshop where a bronze head can be seen which could be our chief model. The quality of the casting of our head is irreproachable, of a great lightness, the bronze is carefully chiselled without being too meticulous with the idea to be as close as possible to the original print and to keep a form of naturalism supporting the ethnographic purpose of the artist.
Result
460,800 EUR
École française du XXe siècle dans le goût de la Renaissance Neptune et Jupiter Deux figures monumentales en bronze à patine brun vert. H. 240 cm et H. 217 cm Accidents, usures et oxydations.
Result
128,000 EUR
Auguste Rodin (1840-1917) Jules Dalou Model created in 1883 Bust in bronze with brown patina shaded with green Signed "A RODIN" on the left shoulder Marked "A RODIN" in relief on the inside Bears the founder's mark "Georges Rudier fondeur Paris" on the back and the museum copyright "@bymuséeRodin @bymuséeRodin 1955 H. 53 cm on a black marble base H. 8 cm Related works : - Auguste Rodin, Jules Dalou, 1889, bronze, H. 52 cm, Detroit, Detroit Institute of Arts, inv. 60.1 ; - Auguste Rodin, Jules Dalou, model created in 1883, cast in 1969, bronze, signed "A. Rodin", bears the mark "Georges Rudier Fondeur. Paris" and the inscription "©Musée Rodin 1969", H. 50 cm, Stanford, Cantor Arts Center, inv. 1974.83 ; Related literature: - Antoinette Le Normand-Romain, Rodin's bronzes. Catalog des œuvres au Musée Rodin, Paris, Musée Rodin, RMN, 2007, vol. 1, pp. 284-285; - Cécile Goldscheider, Auguste Rodin: catalog raisonné de l'œuvre sculpté, Lausanne, Wildenstein Institute, Paris, Bibliothèque des arts, 1989, model listed under no. 131, pp. 171-173. At the Salon of 1884, Rodin presented the first plaster copy of this bust of Aimé Jules Dalou alongside that of Victor Hugo. The two artists' portraits were a great success, as the critic Louis de Fourcaud wrote: "There is nothing, in the Palais de l'industrie, more modern, because there is nothing so implacably and highly true. Rodin presents his friend, bare-chested, in a heroic pose, his face strikingly realistic. This image testifies to the esteemed relationship between the two artists, despite a fragile friendship caused by Dalou's stormy temperament. With this portrait, however, Rodin showed his admiration for the man who had returned from England after ten years of political exile, and who had just triumphed at the 1883 Salon with his relief of Mirabeau responding to Dreux-Brézé. Several bronze proofs of this remarkable bust exist. Rodin first entrusted the casting to Bingen (a copy presented at the 1889 Exposition Universelle), to Griffoul (a copy probably presented at the 1900 Exposition Universelle) and to Persinka (Sotckholm, private collection). An edition was then produced by Alexis Rudier between 1905 and the early 1930s, of which a dozen copies are currently held in international public collections. Georges Rudier cast two bronzes for the Musée Rodin: our bust in 1955 (commissioned January 5, 1955, Musée Rodin archives, côte D7 RE 7) and a second in 1969.
Result
66,560 EUR
Eugène Alexandrovitch Lanceray (1848-1886) English procession Model created in 1884. Bronze with brown patina. Signed in Cyrillic and dated "1884". Bears the founder's mark F. Chopin in Cyrillic. H. 25 cm, terrace W. 45 x D. 25.7 cm (Small deformation to a whip). Related literature: Geoffrey Walden Sudbury, Evgueni Alexandrovitch Lanceray (1848-1886), Paris, Fauve, 2006, model listed pp. 157-158 Eugène Lanceray was the grandson of an officer in Napoleon's army who remained in Russia and was naturalized in the early 19th century. A passionate horseman, he turned to animal sculpture at an early age and quickly became one of the leading figures in St. Petersburg's artistic life. He produced almost four hundred sculptures, mainly equestrian and ethnographic. He traveled throughout Europe, exhibiting at the 1876 Salon and the 1878 Exposition Universelle. His sculpture, both precise and spirited, follows in the footsteps of Barye and Mêne. The Russian Museum in St. Petersburg preserves a significant part of his work. During Lanceray's lifetime, four St. Petersburg founders collaborated with the sculptor: Félix Chopin, Adolphe Moran, Charles Bertauld and Nikolaï Stange. Félix Chopin was a Russian foundryman of French origin who settled in Saint Petersburg in 1838, where he became the main supplier to the imperial court.
Result
76,800 EUR
Flanders, ca. 1600 Adam Gilt bronze H : 32,4 cm on a blackened wooden base H : 8 cm Related literature: Hans Robert Weihrauch, Europäische Brozestatuette, Braunschweig, Klinkhardt & Biermann, 1967, p. 362. The author of this high-quality statuette is probably to be found in Flanders around 1600. Perhaps it is a portrait of St. John the Baptist or Adam. The fineness of the face and the fashionable hairstyle and beard of the early 17th century suggest that this is a portrait. The type of dry and precise chasing and chiseling as well as the carefully repaired casting flaws suggest that the work was executed in one of the most prestigious Flemish workshops at the turn of the 16th century.
Result
29,440 EUR
Albert-Ernest Carrier-Belleuse (1824 - 1887) The Source White marble sculpture. Signed "Carrier-Belleuse" on the terrace at the bottom left. Restorations to the neck and right arm. H: 172 cm Provenance: Biron family, by tradition, by descent since 1887. Related literature: - Albert-Ernest Carrier-Belleuse, Application of the Human Figure to Industrial Decoration and Ornamentation, Goupil et Cie, 1884. - June Ellen Hargrove, The life and Work of Carrier-Belleuse, Garland Pub, 1977, p. 289 and especially plates 194, 294, 295. - Under the direction of June Ellen Hargrove and Gilles Gradjean, Carrier-Belleuse Le Maître de Rodin, catalogue of the exhibition held in Compiègne, Palais, 22 May - 27 October 2014. This monumental marble work depicting an allegory of the Source in the guise of a young woman draped in an antique style holding an overturned jug of water on her hip was executed by Carrier-Belleuse, a fertile artist and director of a vast workshop with a profuse and prized production in the second half of the 19th century. A great draftsman, Carrier-Belleuse published drawing books as early as 1866, then again in 1884, the second of which was entitled Application de la figure humaine à la décoration et à l'ornementation industrielles dans l'esprit des collections de modèles de la Renaissance. The great particularity of her art is to promote the human figure as the main decorative subject. If we know of him more generally for his terracotta busts and his small edition bronzes, Carrier-Belleuse also uses human figures in all materials and in all dimensions in figurative art, particularly from the time he was appointed director of works of art at the Sèvres manufactory in 1875. Our marble work, of monumental size, bears witness to his experience in large scale sculpture, linked to architectural commissions or town-planning decorations. It participates e
Result
19,840 EUR
École florentine du XVIIIe siècle, suiveur de Pietro Tacca (1577-1640) Cheval cabré Bronze à patine brun clair. H. 28 cm, repose sur une base moderne en bois à l'imitation d'écaille de tortue H. 9 cm
Result
19,200 EUR
École française du XXe siècle dans le goût de la Renaissance Deux Nymphes Deux figures monumentales en bronze à patine brune. Fonte de la Fonderie Romain Barelier (Ivry-sur-Seine). H. 158 et H. 155 cm
Result
17,920 EUR
École napolitaine de la fin du XVIIIe ou du début du XIXe siècle Cheval au pas et cheval cabré Éléments de crèche. Bois et plâtre polychromé et tissus. 42 x 47 x 14 et 46 x 35 x 14 cm Accidents et manques.
Result
25,600 EUR