Sculptures, marbles and bronzes

Statuette of Isis Lactans seated, holding her right hand to her breast and holding Harpocrates on her lap. She wears a long tripartite wig, topped with a solar disk and hathoric horns. Cleaned bronze (small deformation at feet level, horn tips missing). Egypt, Late Period, c. 664-332 B.C. Height: 23 cm Provenance : Acquired from Galerie Jean-Louis DESPRAS, March 4, 1977.

Martin van den BOGAERT dit Martin DESJARDINS (1637-1694), d'après, école française du XVIIIe siècle - Louis XIV on horseback Equestrian statuette in bronze with brown patina. Height with wooden base: 58 cm - Width: 36 cm Depth : 19 cm Related works : Martin DESJARDINS, Louis XIV à cheval, monumental bronze statue no longer extant (destroyed in 1792), Place Bellecour, Lyon. Martin van den BOGAERT dit DESJARDINS, cast attributed to Roger SCHABOL, Louis XIV à cheval, c. 1700-1705, bronze (height: 43.5 cm), London, WALLACE Collection, n°inv. S166. After Martin van den BOGAERT dit DESJARDINS, Louis XIV, bronze (height: 44.1 cm), reliefs after Adam Frans van der MEULEN, New York, METROPOLITAN Museum, n°inv. 11.129. 1a. After Martin van den BOGAERT dit DESJARDINS,, Statue équestre de Louis XIV, bronze (height: 44 ), reliefs by Adam Frans van der Meulen, Cambridge, Fogg Art Museum, inv. 1957.72. Martin van den BOGAERT dit DESJARDINS, Portrait équestre de Louis XIV, plaster (height: 40 cm - width: 38.5 cm - depth: 19 cm), Paris, Musée CARNAVALET, inv. S881. To propagate the image of royal power in the provinces, in the 1680s/1690s Louis XIV commissioned a series of equestrian statues in his likeness from the Academy's leading sculptors. In 1688, the Maréchal de VILLEROY, governor of Lyon, commissioned Martin van den BOGAERT (known as DESJARDINS) to create the royal monument as part of the new layout of the Place Louis-le-Grand (now Place Bellecour) in the French capital. Bellecour) in the capital of Gaul. DESJARDINS was at the peak of his already rich career: an Academician since 1671, he was one of the sculptors responsible for the grand decors at Versailles. Here, he relied on the drawings and instructions of François Mansart, First Architect of the King's Buildings, to design a monument which, after many ups and downs, was not inaugurated until 1713. Our equestrian statuette shows a number of variations from this famous DESJARDINS model, in particular the fact that the horse raises its right foreleg rather than its left.

Auguste RODIN (1840-1917), attribué à sous la direction d'Albert-Ernest Carrier-Belleuse (1824-1887) - Titan Terracotta proof H. 25 cm, and wooden base H. 9.5 cm Auguste Rodin began his career as a sculptor working with Albert-Ernest Carrier-Belleuse. While their collaboration was fruitful during his master's period in Brussels, Rodin parted company with his mentor due to conflicts. In 1876, Rodin, in a difficult financial situation, accepted Carrier-Belleuse's offer to work for him again, while keeping his own studio. It was during this period, between 1877 and 1878, that Rodin was commissioned to model figures for a large jardinière designed by Carrier-Belleuse. Taking his inspiration from Michelangelo, Rodin created four figures to replace the wiser ones originally imagined by Carrier-Belleuse. Our terracotta proof is a first thought for one of the four titans featured on La Jardinière des Titans, a glazed ceramic jardinière produced by the Choisy-le-Roy factory in 1899 and signed by Carrier Belleuse.

Igor MITORAJ (1944-2014), Buste, bronze print with green patina, travertine base. Signed lower right and numbered A735/1000HC. 46.5 x 10 cm.

19th century French school after the antique Apollo of Belvedere White marble bust H. 62 cm Reference work : Mid-2nd century AD, Apollo of Belvedere, white marble, Rome, Vatican Museum, inv.1015

Jean-Baptiste CARPEAUX (1827-1875) Hope. White marble sculpture signed and dated JBte Carpeaux 1873 on the right side. (Patina, soiling on the marble, small chips on the back of the sculpture in the hair). H.: 55.8 cm. L.: 33 cm. D.: 28 cm. The model we present corresponds to the third and final version, with Hope wearing her hair in long curls and wearing a crown of lilies. A sale at Hôtel Drouot on May 23, 1874, featuring a collection of Carpeaux's terracottas, marbles and bronzes, mentions a marble bust of l'Espérance (lot 49), but with slightly different dimensions. The Carpeaux sales of 1872 to 1874 list six marble examples, including a sculpture dating from 1869, which appeared in the Carpeaux sale of 1873; another, also dating from 1873, from the Fabius collection, was sold in Paris on October 26, 2011 (Sotheby's, lot 227). The original plaster cast is now in the Glyptotheque in Copenhagen, and the cast is part of the collections of the Musée du Second Empire in Compiègne. L'Espérance was made in terracotta and carved in marble, mainly during the artist's lifetime, and does not appear to have been produced in bronze. Bibliography: - A.Richarme, M.Poletti, Jean-Baptiste Carpeaux Sculpteur - Catalogue raisonné de l'œuvre published by Les éditions de l'amateur, Paris, 2003 (ill. page 128 ff.).

Modern school in the taste of Antiquity Furietti centaur Bronze with brown patina H. 51 cm, standing on a polychrome marble base H. 20 cm Related work : -Aristaeus and Papias of Aphrodisias, Furietti Centaurs, gray-black marble, H. 156 cm, Rome, Capitoline Museum

Étienne BÉOTHY (1897-1961) Opus 079 - Three variations, 1937 Carved amaranth, direct carving - Unique piece. Signed on the base. (Restoration to the high point). H. 87 cm (without base); 94 cm (with base) Provenance : - Alfred Sambon Collection, Paris. Probably acquired through Léonce Rosenberg. - Jean Roudillon Collection, Paris. Acquired circa 1965 from the latter. Exhibitions : - Abstraits hongrois de Paris, Galerie Tamàs, Budapest, 1938, no. 2. - Réalités Nouvelles, Galerie Charpentier, Paris, 1939. - Salon des Réalités Nouvelles, 1946, no. 46. - Béothy and Herbin, Galerie Denise René, 1946. - Salon des Réalités Nouvelles, Paris, 1947, no. 23 or 25. - Art et Musique au XXe siècle, Staatsgalerie Stuttgart, July-September 1985. - Galerie Vallois, Paris, 1986. Bibliography: - De Vrije Amsterdam, March 21, 1947. - Art et décoration, n° 10, 1948, p. 39. - Art d'Aujourd'hui, no. 3, January 1951, p. 27. - Michel Seuphor, Béothy, Collection Prisme, Paris, 1956, repr. p. 50.

Bernar Venet - VENET, BERNAR 1941 Chateau-Arnoux-Saint-Auban/France Title: 248.5°. Technique: Bronze, bronze-patinated. Measurement: 34.5 x 30.5 x 8cm. Notation: Signed verso on the plinth: VENET (stamped). Edition: Unique sculpture. Provenance: - Kunsthandlung Osper, Cologne - Private collection North Rhine-Westphalia Estimated shipping costs for this lot: Arrangement after the auction. Explanations to the Catalogue Bernar Venet Nouveau Réalisme Conceptual Art Post-War Art Sculptures Shapes Sculpture Bronze

STATUTE OF CHAKRASAMVARA EMBRASSING VAJRAVARAHI in gilt bronze TIBET With three heads and six pairs of arms, represented in alidhasana, the main pair of hands holding the vajra and ghanta, the other arms radiating from the shoulders and holding attributes. H. 15.7 cm

Mitoraj Igor (1944-2014) / Pfizer: Sculpture "Centurion 2", patinated bronze on a travertine base, signed under the base, numbered 1055/1500 copies HC, with certificate dated January 30, 1987, signed by the artist, with original box, H: 18.2, W: 14.4, D: 11 cm, (resale rights + 4%)

Roger Godchaux (1878-1958) Lioness turning Bronze with green-brown patina Signed "Roger Godchaux" on the terrace Bears the circular insert and the founder's mark "Susse Frs Edts Paris". Marked "cire perdue H. 14 cm x terrace W. 25.3 x D. 11 cm Roger Godchaux studied under Jules Adler and later Jean-Léon Gérôme. In 1925, the Jury of the Exposition des Arts Décoratifs et Industriels Modernes awarded him the silver medal. When he died in 1958 at the age of 80, he had spent more than fifty years of his life depicting animals in all the attitudes observed in everyday life. Related literature : Jean Dunand, Xavier Eeckhout, Sophie Fourny-Dargère, Roger Godchaux : l'œuvre complet, Dijon, édition Faton, 2021, model number F25, p. 90.

Édouard-Marcel Sandoz (1881-1971) Bijou" rabbit Created in 1920; published by Susse from 1920 to 1930 Bronze with green patina Signed "Ed. m. Sandoz". Bears the founder's mark "Susse Frs Edts Paris". Stamped "SUSSE FRES" and bears the founder's stamp. H. 5.5 cm Related literature: Félix Marcilhac, Sandoz, sculpteur figuriste et ani- malier, Paris, Editions de l'Amateur, 1993, model listed under no. 656, p. 372.

Aristide Maillol (1861-1944) Woman with crab 1904 Bronze proof with brown-black patina and green highlights Published by Vollard, from 1904 ? Model n°20, "Femme au crabe" (Woman with a crab) Florentin Godard sand casting, without founder's mark, executed between 1907 and 1937 Artist's monogram "M" left and right on the terrace 16 x 14 x 13 cm Provenance : United States, private collection A certificate from Ursel Berger will be provided on request. We thank Mr Lorquin for his opinion. This opinion differs from Mrs. Ursel Berger's certificate. For Mr. Lorquin, this is not a cast by Florentin Godard. Several examples of this sculpture cast by Florentin Godard were acquired from Amboise Vollard. Copies can be found in major institutions around the world: ◆ Musée d'Art Moderne et Contemporain de Strasbourg, acquired in 1922 ◆ The Morozov Collection, acquired in 1910, and kept at the Pushkin Museum of Fine Arts in Moscow. ◆ Frankfurt's Städel Museum holds another bronze example, bearing the mark of the founders Bingen and Constenoble with whom Vollard worked on Maillol's works before 1907. As with the early casting of the example in the collections of New York's Metropolitan Museum (Bruno Adriani collection), Maillol's monogram appears twice on this proof, on the terrace. Related literature: Berger, Ursel, Lebon, Élisabeth, Maillol (re)découvert, Gourcuff Gradenigo, galerie Malaquais Figurative Arts Ltd, Paris, 2021. (Cat. no. 16, p. 102). In 1902, Ambroise Vollard organized Maillol's first monographic exhibition in his gallery. Buoyed by the success of this first exhibition, Vollard signed a contract with Maillol to publish 10 of his sculptures. A second contract followed in 1905 for 7 more. From 1907, on Maillol's recommendation, Vollard entrusted the production of the bronzes to the Florentin Godard foundryman, who became Vollard's exclusive foundryman from 1909, for whom he also cast works by Bonnard and Guino-Renoir. When, in 1909, collector Ivan Morozov commissioned Maillol to cast four large statues (Flore, Pomone, Le Printemps et l'Été) for his music salon, it was quite naturally Florentin Godard who was asked to cast them. The quality of his work soon attracted Laurens, Poupelet, Brancusi, Pompon, Picasso and art dealer Daniel-Henri Kahnweiler.

Maurice Prost (1894-1967) Two tigers Circa 1930 Bronze with brown patina H. 32 cm, terrace 78.8 x D. 19 cm including black Belgian marble base Provenance: Maurice Prost workshop Maurice Prost trained as a chaser in the workshop of goldsmith Gauthier in Paris. Despite losing his left arm in the First World War, the young artist specialized in direct carving and animal sculpture. He used plastiline to model animals, particularly wildcats, that he observed at the Jardin des Plantes, where he met Georges-Lucien Guyot, Roger Godchaux and Armand Petersen. From 1922 onwards, he exhibited regularly at the Salon des Artistes français, the Salon d'Automne, the Salon des Artistes Indépendants and the Salon des Animaliers. Related literature: Robert Dubois-Corneau, Maurice Prost (1894-1967), sculpteur et peintre animalier, cat. exhibition, Brunoy, Musée Municipal Robert Dubois-Corneau, April 10-September 30, 2007, Vernon, Musée Municipal A.-G. Poulain, April 26-September 21, 2008, Brunoy, Musée Municipal Robert Dubois-Corneau, 2007.

Auguste Eugène Rubin (1841-1909) Blessing angel Bronze with silver and gold patina H. 37 cm, total H. 46 cm with modern base Oxidation Provenance: Chapelle du château de Randan Auguste Rubin trained with his brother Hippolyte Rubin before joining Auguste Bartholdi's studio. From 1877 to 1905, he exhibited mainly portraits at the Salon.

Paul Dubois (1827-1905) Military courage Barbedienne edition from 1878 Bronze with brown patina Bears the founder's mark "F BARBEDIENNE. Fondeur. Paris" and bears the circular stamp A. COLLAS / Mechanical reduction Engraved with the letters "VV" on the reverse. H. 38 cm, standing on a molded and gilded wooden base H. 4 cm Related literature Florence Rionnet, Les bronzes Barbedienne, l'œuvre d'une dynastie de fondeurs (1834-1954), Paris, Arthena, 2016, model listed under no. 693, p. 315, reproduced on p. 77 and 132.

Jean-Jacques dit James Pradier (1790-1852) Standing Sapho, variant without offerings Model created in 1848, Circa 1850 Bronze with medal patina Signed and dated "J. PRADIER / 1848" on the column H. 45 cm Related literature Claude Lapaire, James Pradier et la sculpture française de la génération romantique, catalog raisonné, Paris, Edition SIK-ISEA, 5 continents, 2010, model listed as n°327, p. 376-377.

CHINE DYNASTIE TANG (620 - 907) - Small ormolu statuette of a monk The figure, possibly the luohan Ananda, is shown standing on a high, lotiform pedestal, holding a jewel in each hand, wearing a long, pleated monastic robe that emphasizes his body. H. 11.5 cm PROVENANCE Private collection, Paris. CONDITION Heavy wear to the gilt, age-consistent wear

Roger Godchaux (1878-1958) Reclining panther Circa 1930 Bronze with brown patina Signed "Roger Godchaux" on the terrace Bears the circular insert and the founder's mark "Susse Frs Edts Paris" Bears the words "cire perdue" ("lost wax"). H. 20 cm, terrace L. 56.2. D. 19.9 cm Roger Godchaux studied with Jules Adler and Jean-Léon Gérôme. In 1925, the Jury of the Exposition des Arts Décoratifs et Industriels Modernes awarded him the silver medal. When he died in 1958 at the age of 80, he had spent more than fifty years of his life depicting animals in all the attitudes observed in everyday life. Related literature : Jean Dunand, Xavier Eexkhout, Sophie Fourny-Dargère, Roger Godchaux : l'œuvre complète, Dijon, édition Faton, 2021, model number F60, p. 108.

Alexandre Falguière (1831-1900) after Jean-Léon Gérôme (1824-1904) Phryné Model created in 1868, published by Goupil & Cie from 1868 to 1897 Bronze with light-brown patina Signed "FALGUIERE Bears the publisher's mark "GOUPIL & CIE Editeurs". Bears the number "244 H. 38.5 cm In 1868, at the request of the publisher Goupil & Cie, Alexandre Falguière reworked the figure of Phryné in front of Jean-Léon Gérome's Areopagus presented at the 1861 Salon. For the bronze and ivory edition of this figure, Falguière's plaster model was subsequently retouched by Gérôme. Related works : - Jean-Léon Gérôme, Phryné devant l'Aréopage, 1861, canvas, size: 80.5 x 128 cm, Hambourg, Kuns- thalle. - Alexandre Falguière after Jean-Léon Gérôme, Phryné, 1868, bronze, "Goupil & Cie éditeur" cast, San Francisco, Fine arts museum, inv. Z 1918.15. - Alexandre Falguière after Jean-Léon Gérôme, Phryné, after 1868, bronze, signed "FALGUIERE" ins- crit "Goupil & Cie Editeurs" H. Springfield, Michele & Donald d'Amour Museum of Fine Arts, inv. 55.23.1. Related literature : Gérald M. Ackerman, Jean-Léon Gérôme, monographie et catalog raisonné, Paris, édition ACR, 1986, model listed under no. S.2, p. 308.

César BALDACCINI known as CESAR (1921-1998) Casting Bronze proof with rose gold patina, signed and numbered n°61/99, foundry mark Gum Blanchet Fondeur. 19x16 cm

BEGTSE CHEN STATUETTE in gilt bronze TIBET, late 19th century Depicted as an alidhasana, right arm raised, originally holding a sword, wearing armor, fierce face, crowned with a crown of skulls framing his hair in the form of flames...; open back. H. 24.7 cm

Edison PARRA (born 1945) Untitled Sculpture in white lacquered wood. 62 x 120 x 80 cm

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).

Emmanuel Frémiet (1824-1910) Love and peacock Model created in 1900, published by Barbedienne from 1903 onwards Gilded bronze Signed "FREMIET"; titled "AMOR VLTOR". Bears the founder's mark "F. BARBEDIENNE Fondeur". H. 42 cm terrace W. 40.5 x D. 17.5 cm Related literature: - Catherine Chevillot, Emmanuel Frémiet: 1824-1910, la main et le multiple, cat. exp. Dijon, Musée des Beaux-arts, November 5, 1988-January 16, 1989, Grenoble, Musée de Grenoble, February 23-April 30, 1989, 1988, model listed under Cat. 156, p. 160. - Florence Rionnet, Les bronzes Barbedienne, l'œuvre d'une dynastie de fondeurs (1834-1954), Paris, Arthena, 2016, model listed under n°Cat. 810, p. 328.

LES ARGONAUTES - FRÉDÉRIQUE BOURGUET (1925-1997) (FRANÇOISE BOURGUET, KNOWN AS) AND ISABELLE FERLAY (1917- 2009) Bird-shaped mirror Glazed terra cotta proof. 24 x 23.5 cm. (chip)

CHINE - Gilded bronze statuette of Marichi with eight arms and three heads, seated in padmasana on a lotus-shaped base, the original hands joined in anjali mudra (prayer gesture), the other six hands holding attributes. His headdress is surmounted by a fourth Buddha head, and he wears a five-peaked crown adorned with flowers. The torso is adorned with the swastika. Ming Dynasty (1368 - 1644) Height: 28.5 cm

Female aegis-shaped bust with calamistrated locks. Possibly a Lagid queen, such as Arsinoe or Cleopatra, depicted as an Isis Hathor. Banded alabaster (minor dents). Egypt, Ptolemaic period, c. 332-32 B.C. Height: 17.5 cm Provenance : Acquired from Galerie Jean-Louis DESPRAS, July 3, 1972.

Jean-Antoine HOUDON (1741-1828), d'après, école française du XIXe siècle Louise BRONGNIART (1772-1845) - White marble bust (soiling and minor accidents). Height: 35 cm Related works : Jean-Antoine HOUDON, Louise Brongniart (1772-1845), daughter of architect Alexandre Théodore BRONGNIART (1739-1813),1777, terracotta (Height: 34.5 cm), Paris, Musée du LOUVRE, inv. RF 1197. Jean-Antoine HOUDON, Louise Brongniart, 1777, marble (Height: 37.7 cm - Width: 25.3 cm - Depth: 19.5 cm, Washington, The NATIONAL GALLERY OF ART, inv. 1942.9.124. Bibliography : Hiorvardu HARVARD ARNASON, Jean-Antoine Houdon: le plus grand sculpteur français du XVIIIe siècle, Lausanne, Edita Denöel, 1976, model listed under n°fig. 94. The model of this charming bust of Louise BRONGNIART at the age of five, presented at the Salon of 1777 as a counterpart to that of her brother Alexandre BRONGNIART, is part of a body of work by HOUDON on the theme of the child's face. The artist's models included his three daughters, Sabine, Anne-Ange and Claudine. Following the success of this type of portrait at the Salon, HOUDON had several copies made in his studio in plaster, terracotta and marble, with variations in cut, costume and hairstyle.

Meunier Constantin (1831-1905) : Sculpture, dark patina bronze, Miner with axe, signed on the terrace, H: 45 cm

Raymond Martin (1910-1992) The man with the trophy 1974 Bronze with brown patina Signed and dated "RAYMOND MARTIN / 1974". Bears the founder's mark "SUSSE FONDEUR PARIS". Numbered "1/8 H. 184 cm Provenance: former D. Wildenstein collection As the plaster was destroyed, only two copies of this model exist. The number "2/8" is kept at the town hall of Cachan (Val-de-Marne). Related literature: Yvonne, Goldenberg, Raymond Martin à la Mon- naie de Paris, cat. Exp, Paris, musée de la Monnaie, mars-mai 1985, Paris Musée de la Monnaie, 1985, model listed under no. 80, p. 44.

François Raoul Larche (1860-1912) With mirror Model created circa 1892, Siot Decauville edition circa 1900 Tin sculpture Signed "RAOUL LARCHE" on the terrace Bears the founder's stamp "SIOT DECAUVILLE FONDEURS PARIS" and the number "R925". H. 45 cm In 1892, Raoul Larche presented a plaster model of two child satyrs observing their reflection, entitled Au miroir, at the Salon. A bronze version topped the monument to the sculptor erected in Coubron in 1914. The model is cast by Siot-Decauville in bronze and pewter in two dimensions. Related work : Raoul Larche, Au miroir, circa 1900, pewter, H. 44 x W. 42 cm, Paris, Musée d'Orsay, inv. RF MO OAO 2014 10 7.

Niki de Saint Phalle - SAINT PHALLE, NIKI DE 1930 Neuilly-sur-Seine - 2002 San Diego, CA/USA Title: L'Ange Vase. Date: 1990s Technique: Polyester resin, polychromed, on metal base. Measurement: Ca. 100 x 60 x 51cm. Notation: Stamped signature and number on the inside of the cornucopia: Niki de Saint Phalle 13/50. Foundry Mark: Beside it foundry mark RESINS R.HALIGON D'ART. Number: 13/50. Provenance: - Private collection Germany Estimated shipping costs for this lot: Arrangement after the auction. Explanations to the Catalogue Niki de Saint Phalle Nouveau Réalisme Post-War Art Sculptures 1990s Figure / Figures Sculpture Polyester resin Woman

Terracotta MAHAKALA STELE NEPAL, 17th-18th century Depicted standing on a lotiform base, with three heads and six arms, hands holding attributes (pasha, vajra, ghanta, etc.), the mandorla decorated with flames; visible missing parts and minor restorations. H. 33.5 cm PROVENANCE: Cornette de Saint Cyr, sale April 12, 1999, lot 198. Appraisal certificate by Mr. Jean-Luc Estournel, April 15, 1999.

Aristide Maillol (1861-1944) Femme assise - Baigneuse Renoir, 1903 (or earlier) Bronze proof with brown-black patina Florentin Godard sand casting, without founder's mark Monogrammed on the base at the back 23.5 x 9 x 12.5 cm Provenance : United States, private collection A certificate from Ursel Berger will be provided on request. We would like to thank Mr. Lorquin for confirming that this bronze was probably sand-cast by Florentin Godard. The famous portrait of Ambroise Vollard painted by Renoir in 1908 clearly shows Maillol's clay sculpture, which the dealer was examining closely at the time. Renoir owned a copy of this statuette, which is probably why the Seated Woman is given the second title of Renoir Bather. Count Kessler also owned a copy, acquired from Ambroise Vollard in 1903. The model is quite rare. Three other examples have been identified in public collections: ◆ Ludwig Museum, Cologne ◆ San Francisco (Young Legion of Honor, former Sadrie Adriani collection) ◆ Musée des beaux-arts Montreal, Canada Related literature : Berger, Ursel, Lebon, Élisabeth, Maillol (re)découvert, Gourcuff Gradenigo, galerie Malaquais Figurative Arts Ltd, Paris, 2021. (Cat. no. 17, p. 106) In 1902, Ambroise Vollard organized Maillol's first monographic exhibition in his gallery. Building on the success of this first exhibition, Vollard signed a contract with Maillol to publish 10 of his sculptures. A second contract followed in 1905 for 7 more. From 1907, on Maillol's recommendation, Vollard entrusted the production of the bronzes to the Florentin Godard foundryman, who became Vollard's exclusive foundryman from 1909, for whom he also cast works by Bonnard and Guino-Renoir. When, in 1909, collector Ivan Morozov commissioned Maillol to cast four large statues (Flore, Pomone, Le Printemps et l'Été) for his music salon, it was quite naturally Florentin Godard who was asked to cast them. The quality of his work soon attracted Laurens, Poupelet, Brancusi, Pompon, Picasso and art dealer Daniel-Henri Kahnweiler.

HERVÉ VAN DER STRAETEN (NÉ EN 1965) - Bronze "Coque" cup with black patina on the outside and shaded golden brown on the inside. Incised HV monogram on one side. Circa 2010 Length 43.5 cm - Width 18.5 cm A 'Coque' cup in bronze with black patina outside and gilded inside. Monogrammed. L. 17 1/8 in. - W. 7 1/4 in

Pierre Le Faguays (1892-1962) Medieval archer Bronze with polychrome and chryselephantine patina Signed "Le Faguays" on the beige marble base H. 59.5 x W. 60 x D. 14 cm A student of James Vibert at the École des Beaux-Arts, Pierre Le Faguays began exhibiting at the Salon d'Automne in 1920. His Art Deco statuettes were published by Susse, Goldscheider, Neveux de J. Lehmann, Etling, Max le Verrier and Olliver. He was one of the exhibitors at the Goldscheider Pavilion in 1922. He usually signed his bronzes by name, but used pseudonyms to sign his works in other materials.

Pair of subjects in patinated bronze. Base in chased and gilded bronze with concave sides and adorned with a large falling laurel twig. The two groups are in the effigy of a Young Mercury and a Loyal Love. Late 18th century. Height: 17 cm - Length: 16 cm Depth : 8 cm Similar model: Jacques DOUCET collection; June 7 & 8, 1912, lot 259 reproduced, vol. III.

A French bronze group of the Laocoön, After the Antique, late 19th century, Depicting the Trojan priest and his two sons being attacked by snakes, on a stepped rectangular base, with cast signature F. BARBEDIENNE. FONDEUR. and stamped with A. COLLAS BREVETTE REDUCTION MÉCANIQUE cachet, 45.5cm high, 31.8cm wide, 15.8cm deep

Christophe FRATIN (1801 - 1864). Wild boar attacked by dogs. Bronze group with brown patina. Proof signed Fratin. Height : 34 cm, Width : 45 cm, Depth : 20 cm.

Jean-Baptiste Carpeaux (1827-1875) La Rieuse napolitaine n°1 Model created in 1863 Bust in patinated terra cotta Signed "J.Bte Carpeaux". Stamped with the imperial eagle H. 51 cm This is a portrait of Anna Foucart, eldest daughter of Jean-Baptiste Foucart, a close friend of Jean-Baptiste Carpeaux. Carpeaux painted the young girl in 1860 and reused the model several times, adapting it for Rieuse napolitaine in 1863 and Rieuse aux roses in 1872. Here, the emphasis is on traditional Neapolitan costume, as a counterpart to the bust of Le Rieur napolitain, one of the Valenciennes sculptor's greatest successes. Related literature : Michel Poletti, Alain Richarme, Jean-Baptiste Carpeaux, sculpteur. Catalog raisonné de l'œuvre édité, Paris, Les Expressions contemporaines, 2003, model listed under n°BU 47, p. 148.

Hubert Yencesse (1900-1987) Diana on the rock Circa 1940 Bronze with brown patina Signed "HUBERT YENCESSE". Bears the founder's mark "Alexis Rudier Fondeur Paris". H. 47.5 cm, on a black Belgian marble base H. 16.9 cm Born into an artistic family and a student at the École des Beaux-arts de Dijon from 1919, Hubert Yencesse met François Pompon (1855-1933) and became his pupil. Awarded the Blumenthal Prize in 1934, he moved to Paris and worked with Aristide Maillol until 1936. He received numerous public commissions throughout his career and also taught at the Beaux-arts de Paris. Related works - Hubert Yencesse, Diane au rocher, circa 1943, bronze, signed "H. Yencesse" and numbered "A/X", H. 94 x W. 42 x D. 24 cm, Paris, Musée d'Art moderne de Paris, inv. AMS 413 ; - Hubert Yencesse, Diane au rocher, 1943, bronze, Rudier casting, H. 188 x W. 140 cm, Dijon, Musée des Beaux-Arts, inv. 3804

Paul Dubois (1848-1929) David Bronze with green patina Signed "Paul Dubois Bears the founder's stamp "H. LUPPENS and Cie / VEUVE LUPPENS / SUCCES / BRUXELLES". Bears the publisher's mark "VVE Lis. LUPPENS / Editeur" Titled "DAVID / PAR PAUL DUBOIS". H. 57 cm

François POMPON Toy (Boston terrier) Black patina bronze Signed on the front of the left hind leg "F.POMPON", numbered on the terrace edge "8/12", foundry stamp on the terrace "CIRE / C.VALSUANI / PERDUE". Designed in 1931, this proof was cast between 1963 and 1970. H : 30.1 cm, W : 33.9 cm, D : 14.0 cm Bibliography: C.Chevillot, L.Colas, A. Pingeot, François Pompon 1855-1933, Gallimard/Electa, Réunion des musées nationaux, Paris, 1994, no. 33, reproduced in black and white on p.187 (the plaster). A certificate from Madame Liliane Colas will be presented to the buyer. h : 30.1 cm, w : 33.9 cm, d : 14.0 cm François POMPON H : 30.1 cm, W : 33.9 cm, D : 14.0 cm h : 30.1 cm, w : 33.9 cm, d : 14.0 cm Bronze with black patina ; signed on the left front leg, number on the edge of the base, stamped with the foundry mark on the base 11,85 x 13,35 x 5,51 in.

Wilhelm Lehmbruck - Wilhelm Lehmbruck Girl with leg propped up 1910 Bronze. Height 62.4 cm. Signed and inscribed 'LEHMBRUCK PARIS' to the side under the left foot. With the foundryman's inscription 'Alexis Rudier Fondeur, Paris' on the back of the lower edge. One of only 2 lifetime casts listed by Schubert. Very rare. - Very beautiful dark, partly bronze-colored patina with a few brightenings on the base. Schubert 54 B.a.2. Provenance Curt Valentin, New York; Sternberg Collection, Saint Louis; Galerie Arnoldi-Livie, Munich (1970s); private collection, North Rhine-Westphalia Literature Cf. Wilhelm Lehmbruck, exhib. Cat. Gerhard Marcks-Stiftung Bremen, Bremen 2000, cat. No. 6; Katharina Lepper, Mädchen mit aufgestütztem Bein, in: Wilhelm Lehmbruck 1881-1919. Das plastische und malerische Werk. Poems and Thoughts, exhib. Cat. Wilhelm Lehmbruck Museum Duisburg Foundation, Cologne 2005, p. 122f. In the years following his studies at the Kunstakademie in Düsseldorf from 1901 to 1906, Wilhelm Lehmbruck sought new and contemporary means of expression for his sculptures. He found decisive inspiration in Hans von Marées, but above all in the French and Belgian sculptors Constantin Meunier, Auguste Rodin and Georges Minne. From 1906, Lehmbruck therefore spent regular periods in Paris, where he settled in 1910. In the French metropolis, he made personal contact with Rodin, met Aristide Maillol and initiated his final austere style with the "Large Standing Figure" in 1910/11. The "Girl with her leg propped up" was created on the threshold of Lehmbruck's elongated and introverted sculptures. This bronze also depicts a standing female figure, but unlike the following works, the woman adopts a complicated, twisted pose. While the raised leg is turned to the left, the upper body turns to the right and the head in the opposite direction. With this unstable posture, the "Girl with her leg up" is reminiscent of a "figura serpentinata", the twisted figures of the Italian late Renaissance. However, the reference to the French sculptor Jean-Baptiste Carpeaux, who became famous for his animated sculptures at the Paris Opera, is even more pronounced. Absorbing all these influences, he created a rare, sensually playful nude, whose introspective gaze foreshadows later works such as "Große Sinnenden" (1913).

Albert Féraud (1921-2008) Untitled Sculpture in welded steel Signed "FERAUD H. 45 cm Related literature: Albert Féraud, Enrico Navarra, Albert Féraud, Paris, Galerie Enrico Navarra, 2001.

Henri Laurens - Henri Laurens Femme couchée (de face) 1921 Bronze relief. 14 x 39.6 cm. Unmarked. One of 8 casts. - With beautiful dark patina, partly lightened to bronze. Hofmann 103 Provenance Galerie Louise Leiris, Paris (with enclosed document); Galerie René Ziegler, Zurich (1986); private collection, Hesse Exhibitions Lugano 1986 (Pieter Coray Gallery), Henri Laurens cubista, cat. No. 21, with color illus. Literature Cf. Marthe Laurens, Henri Laurens. Sculpteur 1885-1954, Paris 1955, no. IV, p. 95, with illus.; Henri Laurens, exhib. Cat. Haus am Waldsee, Berlin 1956, cat. No. 6; Henri Laurens. Sculptures, Graphics, Drawings, exhib. Cat. Kunsthalle Bielefeld 1972, cat. No. 4; Henri Laurens (1885-1954). Sculptures, collages, drawings, watercolors, prints, exhib. Cat. Sprengel Museum, Hanover 1985, cat. No. 3 When the French sculptor Henri Laurens met Georges Braque in 1912, the latter introduced him to the ideas and techniques of Cubism. After Laurens had initially tried out the new form decomposition on sculptural constructions made of wood, iron and plaster, he turned to the figure around 1920, which he molded partly from terracotta and partly cast in bronze. For the "Femme couchée, de face", he used the possibilities of the relief to depict a reclining female nude almost full-size. Using the means of cubist form decomposition, he succeeded in showing the nude from all angles - the head with long hair turned to the left, the upper body en face and the belly and round buttocks pointing upwards in one picture plane. As with the still lifes, Laurens was concerned here with the interplay of the individual forms, which are geometrized and merged into a single unit. Curved forms alternate with sharp-edged, angular elements. When asked about his approach, Laurens replied: "When I start a sculpture, I only have a vague idea of what I want to do. For example, I have the idea of a woman [...]. But before my sculpture is a representation of anything, it is [...] a sequence of plastic events in my imagination [...]." (quoted from "Die unbekannte Sammlung aus Bielefeld", exhib. Cat. Bonn 2011, p. 130). The bronze relief comes from the gallery of Louise Leiris in Paris, who had taken over the artistic representation of the sculptor from her brother-in-law Daniel Henry Kahnweiler. The latter had discovered Laurens and wrote in retrospect: "I have often pointed out how important Henri Laurens' work seems to me. His contribution to the 'great epoch' of Cubism can hardly be overestimated." (quoted from Werner Hofmann, Henri Laurens, Stuttgart 1970, p. 50).

Aimé-Jules Dalou (1838-1902) Seated man or Edouard Pailleron (1834-1899) seated or Edouard Lindeneher (1837-1910) seated Model created circa 1870, cast by Hébrard in 1907 Bronze with dark brown patina Signed "DALOU Bears the founder's stamp "CIRE PERDUE / A.A. HEBRARD" and the letter "M". H. 20 cm Provenance: Galerie du Carrousel, Paris; Galerie Delestre, Paris This figure of a seated man with his hand in his pocket could be a portrait of playwright Edouard Pailleron or sculptor Edouard Lindehener. In 1905, after Aimé-Jules Dalou's death, the sculptor's studio collection was acquired by the City of Paris and assigned to the Petit Palais. In 1907, a bronze edition of several plaster and terracotta models was commissioned from the Hébrard foundry. To the best of our knowledge, our print is the only one on record. The Hébrard foundry marked all one-of-a-kind pieces as "pièce unique", which is not the case with our bronze, which bears the letter "M", as do all the copies destined for the foundry. Related work : Aimé-Jules Dalou, Homme assis dit Edouard Pailleron assis, terracotta, signed "DALOU", 20 x 10 x 13 cm, Paris, Petit Palais, inv. PPS323. Exhibition: Galerie Delestre, Jules Dalou 1838-1902, Paris, 1976, listed under no. 7 Related literature: Amélie Simier, Jules Dalou, le sculpteur de la République, cat. exp. Paris, Petit Palais, 18-April-13 July 2013, Paris, Paris Musées, 2013, model listed under no. 275, p. 340

GANESHA STATUTE in bronze NORTHERN INDIA, HIMACHAL OR CHAMBA, 17th c. Depicted as a lalitasana in front of a mandorla on a rectangular base, with a mongoose at his feet. H. 10.5 cm Certificate of appraisal by Mr. Jean-Claude Moreau-Gobard, February 17, 1995.