Plaster sculptures

36 Rembrandt BUGATTI (1884 - 1916) Crouching Jaguar, circa 1902 Bronze sculpture with richly shaded patina, signed on the terrace Cast in lost-wax A.A. HEBRARD, numbered 27 15 x 20 x 12.7 cm (including marble base) Bibliography V. Fromanger, "Rembrandt Bugatti, répertoire monographique une trajectoire foudroyante", Les Éditions de l'Amateur, ed. l'Amateur, 1987 ed., plaster reproduced p. 202 and 2010 ed., no. 220, p. 338. Exhibitions for a similar model Temporary exhibition for the large model: Paris, Salon d'automne 1908. Sladmore Gallery, London, James Graham & Sons, New York, Rembrand Bugatti, 2014, no. 6. A request for a certificate of authenticity has been sent to Véronique Fromanger, author of the catalog raisonné of the sculptural works of Rembrandt BUGATTI The edition of this bronze is limited to 51 numbered copies, ours being numbered 27. subscription letter dated November 27, 1909, Adrien-Aurélien Hebrard states: "It is this work which this year will be the subject of the limited edition of fifty lost-wax bronze proofs that I usually make once a year for my customers. This sculpture is a replica of the bronze by the same artist in the Musée du Luxembourg". (Véronique Fromanger)

Rembrandt Bugatti (Milan, 1884 - Paris, 1916) Boniface Marquis de Castellane, c. 1912 Bronze with brown shaded patina. Signed on the terrace "R. BUGATTI". Original edition AA Hébrard (c. 1904-1934); stamp: "CIRE PERDUE AA HEBRARD". Total height 76 cm. Bronze: 73 cm. Green marble terrace: Height 3 cm. Provenance: private collection, Rhone Valley. Art Loss Register certificate, London, April 10, 2024. Exhibition of the plaster: 1912, Salon de la Société nationale des Beaux-Arts, Paris. Rembrandt Bugatti, ca. 1912. A bronze sculpture of Boni de Castellane. Signed on its green marble base. Original cast by AA Hébrard. Certificate and notice of inclusion in the Rembrandt Bugatti Repertoire issued by Madame Véronique Fromanger on February 27, 2024. Bibliography: Véronique Fromanger, "Une trajectoire foudroyante ; Rembrandt Bugatti", les Editions de l'Amateur, 2016. Reproduced p.183. "Plaster, private collection. Fonte Albino Palazzolo: to the best of our knowledge, with all reservations, the bronze print listed to date is one copy." BONIFACE DE CASTELLANE, by Véronique Fromanger In 1912, the young Italian sculptor Rembrandt Bugatti wrote to his brother Ettore "[...] you can use my studio whenever you like and for as long as you like. I'm surprised about the bust of the Prince, it's been done for a long time, and you can tell him from me to go and claim it, and that he doesn't have to pay anything [...]". This is the portrait of Prince Paolo Troubetzkoy, who was introduced to Parisian social life during the Belle Epoque by the impertinent, eccentric, haughty and profound aesthetes Count Robert de Montesquiou and Marquis Boniface de Castellane. Some rare portraits The fascination exerted by these great aristocrats on their contemporaries made them the models for numerous novel heroes; Marcel Proust said of them that they were "the teachers of beauty for an entire generation". An intimate of the Bugatti family since Milan, Paolo Troubetzkoy guided Rembrandt Bugatti through the salons of Paris; during a brief stay, before returning to the Antwerp zoo to meet up with his everyday friends, the wild animals, Bugatti produced a few rare portraits. All were cast in bronze, in a single edition, by the undisputed master of lost-wax casting, A. A. Hébrard. The soul of a grand seigneur At the time of the Belle Epoque, the mistresses of the house attracted artists, poets and other personalities to the balls, to add to the glamour of their sumptuous receptions. It was here that Bugatti met one of these extraordinary characters and, during a private visit, modelled a masterly portrait of the Marquis Boniface de Castellane in hunting outfit: in a single line, Bugatti totally captured the soul of this great lord. An aesthete and a collector, Boniface de Castellane always took great care with his appearance. Even in the face of adversity and obstacles, he sought to remain worthy of his most illustrious ancestor, Talleyrand. Politically very active, he was also a great sportsman.

Henry MOORE (1898-1986) Globe and Anvil, LH 541, cast 2, 1966 Proof in bronze with brown patina. Signed and numbered 2/9 below. 18 x 18 x 18 cm The original plaster cast was created in 1966 and then edited by the Fiorini foundry. Bibliography: Alan Bowness, "Henry Moore Complete Sculpture Volume 4 1964-1973", Ed the Lund Humphries, London, 1977 This model is listed under no. 2024.28 in the Henry Moore Foundation online catalog raisonné.

28 Auguste RODIN (1840-1917) Man with a broken nose, mask - type II, 2nd model, 1903 Sculpture in bronze with black-green shaded patina, signed "A. Rodin", stamped "A. Rodin" stamp embossed inside Cast by Alexis Rudier, inscription in hollow, circa 1926 H. 25.5 x W. 20 x D. 21.5 cm Total height with onyx pedestal 37.5 cm Designed circa 1863-1864, this version designed in 1903, this impression cast in 1926. Provenance : Musée Rodin, Paris. Eugène Rudier, Le Vésinet, Monsieur Raymond Subes, Paris, then by descent. Bibliography: A. Le Normand-Romain, Rodin et le bronze, catalog des œuvres conservées au musée Rodin, 2007, tome 2, pp. 415 & 416, model reproduced on pp. 414 & 415. Further bibliographies on request. Will be included in the critical catalog of Auguste Rodin's sculptural work, currently currently being prepared by Galerie Brame & Lorenceau, under the direction of Jérôme Le Blay. Rodin was very attached to this early work, in which his future personality was already revealed. future personality: "This mask determined all my future work. It was the first good sculpture I ever made [...] I never succeeded in making a figure as good as Le Nez cassé". The Broken Nose". The work takes as its starting point the portrait of an old habitué of the Saint-Marcel district, where Rodin had moved in May 1863. The man, who earned his living by who earned his living doing odd jobs of all kinds, was known as "Bibi"... portrait was probably painted at the end of 1863. The Man with the Broken Nose was reproduced in plaster and exhibited in Brussels in 1872, and later translated into marble when the sculptor could afford it. At the 1875 Salon, the work was accepted. The bust, in the tradition of portraits of ancient philosophers was bound to please the jury. Encouraged by this success, Rodin had it cast in bronze. first cast was exhibited at the 1878 Salon under the simple title of M**(n°4558). It the title Man with a Broken Nose, probably because of its striking resemblance to with Daniele da Volterra's portrait of Michelangelo. It was under this name that most often mentioned, and it was the name he carried from then on.

18th century Genoese school Jupiter and Juno in carved and gilded wood. Pair of statues. Height approx. 68 and 66 cm. (minor accidents and missing gilding). On plaster bases. Total height 102.5 and 100.5 cm. Provenance: Paris collection. Genoese School, 18th C. A pair of carved giltwood sculptures of Jupiter and Juno. On plaster bases.

CHINA Large ginger pot decorated with flowers and foliage in blue-white porcelain. Modern work. Dimensions: 26 x 22 cm Lots will be available for collection by appointment on Wednesday May 29th at Paris XVIème (Metro: La Muette, line 9). [The exact address will be communicated to you after full payment of the slip, when the appointment is made].

After Jean Antoine HOUDON (1741-1828) Bust of Louise Brogniart. Proof in patinated plaster. Signed on the reverse. Dimensions: 25 x 13 cm (Small accidents and missing pieces) Lots will be available for collection by appointment on Wednesday May 29th at Paris XVIème (Metro: La Muette, line 9). [The exact address will be communicated to you after full payment of the slip, when the appointment is made].

CORNET Paul, attributed to Large bather with sheet plaster cast with light beige patina (transfer nails, transfer marks, small accidents and stains) unsigned Total height: 210 cm PROVENANCE: Artist's studio - passed down through the artist's family We would like to thank the artist's family for the information they provided. NB: this lot is to be collected from our storage facility in St Ouen.

Reunion of two polychrome earthenware dishes decorated with fish: - One decorated with pink and blue fish, size: 10.5 x 41.5 cm (Chips under the base) - The other decorated with multicolored fish, size: 10.5 x 41.5 cm Lots will be available for collection by appointment on Wednesday, May 29, in Paris XVIème (Metro: La Muette, line 9). [The exact address will be communicated to you after full payment of the slip, when the appointment is made].

Two BUSTES on columns in plaster and patinated plaster, featuring Louis XVIII and Henri IV. One signed Roma Gnan. H. 28 cm. Damage and missing parts.

Seville School S. XVII "Triumphant Infant Jesus". Polychrome pewter figure. During the 17th century in Seville there was a proliferation of pewter devotional figures, due to its relevant role in the race to the Indies and the appearance of technical advances in metal casting. Pewter is an alloy of lead, antimony, tin and copper that had a low melting point and allowed the production of a large number of serial pieces produced by casting sculptures of wood, clay, plaster or other materials. The workshops specialized in these casts began to multiply, such as that of the Liège sculptor Diego de Oliver, who defined himself as "master caster of relief figures and specifically of lead children. This sculptor is responsible for flooding the Spanish and overseas market with lead Infant Jesuses. The model was obtained from the carved wooden Infant Jesus, the work of Juan Martínez Montañés in 1607 for the Brotherhood of the Sagrario in Seville. This model was the basis for the contributions made by his disciple Juan de Mesa and other followers that were repeated in metal. This working technique allowed a finish similar to that of wood, which greatly reduced costs and allowed the possession of luxury devotional objects at a more popular level. This triumphant Infant Jesus derives directly from the example attributed to Juan de Mesa ca. 1625, which is in the Faculty of Fine Arts of the University of Seville. As usual in the model of classical proportions and slight contraposto, he is blessing with the right hand, with the left hand he would hold a banner and leans on a cushion. She has a dreamy look with curly hair and the characteristic topknot of curls on her forehead. Small defect on one leg. Wooden stand. Height: 48,5 cm

Joseph ANDRAU (1907-1987) Reclining Nymph Sculpture in patinated plaster, signed and dated 1943 on the terrace. Cracks, chip at base. 51 x 79 x 24 cm

Two porcelain cookie subjects depicting a couple carrying a basket of fruit with children, the Sèvres blue enameled porcelain pedestal with gold edging. Probably English work. Dimensions: 36 x 14 cm (Very good condition) Collection by appointment on Wednesday May 29th at Paris XVIème (Métro : La Muette, ligne 9) [The exact address will be communicated to you after full payment of the slip, when the appointment is made].

JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Le repos sour les saules (Resting under the willows)", 1924. Watercolor on paper. Signed with initials and dated in the lower right corner. Measurements: 17 x 25 cm; 31 x 39,5 cm (frame). Julio González is not only considered an important figure within the artistic panorama of the 20th century for his sculptures in iron, but also for his excellent, although less known, facet as a draftsman. Gonzalez's drawings are inspired by the work of Pablo Picasso due to the relationship he had with the painter from Malaga, a collaboration that began in 1928 and culminated with the execution in wrought bronze of the sculpture "Femme au jardin". Thanks to his drawings it is possible to delve into the exciting world of González, with female figures captured with enormous skill and delicacy, or with the sketches prior to his iron sculptures, which demonstrate his exceptional and unlimited artistic capacity. Julio González was born into a family of goldsmiths, learning the trade as a child. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went with his family to Paris, where he frequented the artistic circles and maintained contact with Picasso, Gargallo and Brancusi, among others. Around 1910 he began to work with embossed metal masks, with a style marked by naturalistic and symbolist features, as well as by a new conception of the human figure, with synthesized volumes and lines. During these years, Gonzalez began his participation in the Parisian salons, specifically in the Salon d'Automne, the Salon des Indépendants and the Salon de la Société Nationale des Beaux-Arts. In 1920 he opened his own forge workshop, and two years later he made his individual debut at the Povolovsky Gallery in Paris. At the end of the 1920s he began to develop his first sculptures in wrought iron, a material that until then was considered merely decorative. During the thirties his work became more abstract, and the first spatial constructions appeared. After a long list of participations in solo and group exhibitions such as Spanish Art at the Jeu de Paume Museum (1936) or the Spanish Pavilion at the Universal Exhibition in Paris (1937), at the beginning of World War II his work, as a result of the shortage of iron, focuses on a new material, plaster, and on drawings with war themes. González is represented at the Georges Pompidou Center in Paris, the Reina Sofía in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

Bust of a Roman woman - Academic sculpture in plaster (A crack at the base of the neck) Weight: 2.92 kg Shipping available Sizes: H 480MM X L 230MM Condition: At first sight: restored

HENRY SAMOUILOV (1930-2014) The goat Bronze with patina, bearing Samouilov on top of the terrace. Foundry stamp: cire perdue Valsuani, n° 2/8. Height: 27.5 cm. Born in Paris in 1930, Henri Samouilov is one of those artists who cannot be classified. A self-taught painter and sculptor, his originality stems from his free spirit. Very early on, painting fever struck him and he decided to enroll in evening classes in Montparnasse, frequenting the Grande Chaumière, before studying wood engraving at the Ecole Estienne. A multi-faceted artist, he took on the role of architect to design and build his artist's studio in Yerres, his main place of residence. This home-workshop, which still bears his signature, is a fantastic testimony to Henri Samouilov's creativity, with sculptures responding to drawings and paintings orchestrating an organized Baroque style. The artist's sculptural work is just as unclassifiable, featuring everything from animals to characters, literary and fantastical inspirations. What all these statues have in common is their gentleness. One senses the artist's delight in representing what exists through a stylistic prism all her own, a lightness accentuated by the contrast of the porous roughness of the plaster surface used for her master models.

LAFAYE Lucien, 1896-1975 Beethoven, 1924 high-relief plaster with ochre patina (wear and minor accidents, probably repatinated and resigned), no. 3/12 on the front: Lucien Lafaye Height: 57.5 cm - Width: 41 cm

JEF LAMBEAUX (1852 - 1908) - JEF LAMBEAUX (1852 - 1908) - Bust in plaster after a work by Lambeaux - Signed - Minor injuries - H: 57 cm

Earthenware mantel set with polychrome carnation decor and gilt bronze mount including : - A polylobed vase resting on a gilt bronze trim with foliate decoration. Dimensions: 13 x 15.5 cm - A horn-shaped vase supported by two ormolu cherubs, resting on a rectangular base. Dimensions: 26 x 23 x 10 cm - A covered bonbonnière resting on an ormolu base terminating in lion paws. Dimensions: 15 x 21 x 11 cm (Good condition) Lots will be available for collection by appointment on Wednesday May 29th at Paris XVIème (Metro: La Muette, line 9). [The exact address will be communicated to you after full payment of the slip, when the appointment is made].

Portrait of George Washington, plaster sculpture, 20th century, h cm 39 (defects)

DOLFI Two blue and white glazed ceramic bottles containing Curacao Orange Dolfi, Strasbourg. Cork stopper. Marked under the base. Dimensions: 24 x 11 cm (Good general condition) Lots will be available by appointment on Wednesday May 29th at Paris XVIème (Metro: La Muette, line 9). [The exact address will be communicated to you after full payment of the slip, when the appointment is made].

PROBABLE PRODUCTION OF THE MOLDING WORKSHOP OF THE REUNION DES MUSEES NATIONAUX (20th century) Bust of Jayavarman VII Plaster with an imitation stone patina Mounted on a wooden base Engraved stamp on the back of the neck, probably that of the RMN Plate identifying the subject on the front H (including base): 46 cm Note: The original work is conserved at the MNAA Guimet under inventory number P430.

Giorgio de Chirico, Archeologi con bambino, Tratto da un gesso originale inedito del 1969 - Giorgio de Chirico, Bronze Sculpture (silver-plated), Archaeologists with Child, Taken from an unpublished original plaster cast of 1969, Exh. No. 0/0 ; Certificate of Authenticity from Fondazione Giorgio and Isa de Chirico Prof. Paolo Picozza; This work is part of the edition of 9 copies of which 7 are numbered I/VII° plus two artist's proofs E/A I/II E/A II/II and one proof 0/0 intended for Fondazione Giorgio and Isa de Chirico

"Buste de jeune fille" large plaster bust signed Edouard FORTINI,Paris (H:63cm)

M. ZEUWTS - M. ZEUWTS - Large sculpture in plaster - "Bullet thrower" - Signed - Restored - H: 60 cm.

"Mme de Récamier" large plaster bust signed DEBROUER (small missing parts) (H:65cm)

Plaster sculpture of a young girl leaning against a fence (accident to a finger) - H: 88 cm

LOT RELIGIOUS SCULPTURES IN PORCELAIN, COOKIE, PLASTER, ZAMAC,...

St. Joseph with Child, polychrome plaster sculpture, 20th century, height 42 cm (breaks and defects)

BERNARDI ROIG Palma de Mallorca 1965 Light exercises. 2003 Plaster + support with light Unique piece Size 24 cm (sculpture height); 160 cm (light stand height) PROVENANCE Max Estrella Gallery, Madrid Private collection

Jan Bauch (1898-1995) - THREE SCULPTURES Three plaster figurines, black patinated, h. 19,5 cm, 16,5 cm, 10 cm. Signed on the plint: "JB". Provenance: The collection of Alexandr Skalicky.

PAT ROWLAND. Untitled. (d) - Plaster sculpture with bronze patina Signed 11x7x10.5 cm. Slight wear on the patina. With stand in stuccoed and painted wood, with defects.

PAT ROWLAND. Untitled. - Bronze-patinated plaster sculpture Signed 14.5x14x12 cm. Slight wear on the patina. With stand in stuccoed and patinated wood.

Gilbert Privat - Sculpture, signed Width 91 cm, Depth 21 cm, Height 72 cm "La Vendemmia" sculpture composed of three elements, made of painted plaster. French manufacture, 1930s. Signature present