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Cécile RaynalAt the Ladies’ Table by Cécile Raynal - Smoke-fired stoneware sculptures, bronze2025
2025
$180,274.42
£134,212.68
€152,100
CA$248,390.74
A$276,582.78
CHF 146,263.48
MX$3,365,843.25
NOK 1,843,683.23
SEK 1,737,020.62
DKK 1,157,865.62
About the Item
At the Ladies’ Table is an installation by the contemporary French artist Cécile Raynal that brings together portraits of women from the artist’s entourage, friends or people she has invited to pose to get to know them better. The dimensions refer to the installation without the separate figure, which is 100 cm (39.4 in) high. The ladies are between 80 and 90 cm (31.5–35.4 in) tall, and the wooden bases are between 30 and 35 cm (11.8–13.8 in) tall. The white wooden platform is 65 cm (25.6 in high) and stand for the single figure are not included in the price and would be quoted separately, as these may vary according to the installation space.
The portraits are arranged around a table, forming a kind of feminine banquet that subtly echoes The Last Supper. Each figure adopts a distinct posture: some engage in conversation, others listen attentively, while a few appear lost in thought. Scattered among them are sculptures of animals and objects, each drawn from the artist’s personal reservoir of references — myths, fables, and images that will spark different resonances for every viewer. Slightly apart from the group stands a solitary figure, observing the scene. Far from delivering a fixed storyline, the installation invites the audience to weave their own narratives, freely linking the characters and symbols before them.
“The scene is built from portraits of women of different ages and professions — friends or fleeting allies, always accomplices […]. It’s more a storytelling table than an altar. A keeper of stories whose beginnings I alone know. Nothing clearly reveals whether there is sorority, a quiet betrayal, perfect harmony, drunkenness or mild madness, desire, childbirth, solitude… […]” — Cécile Raynal
The installation À la table des Dames (At the Ladies’ Table), a project the artist has been developing over several years, lends its name to Cécile Raynal’s solo exhibition at Montivilliers Abbey in Normandy (2025). Presented in this historic site — long home to women, nuns, and abbesses — the exhibition brings together portraits of women alongside animal figures. Raynal’s sculptures resist seduction in the conventional sense; at times they can even appear unsettling. Rough in texture, they bear the traces of their making, yet stand upright and alive. They conjure a world where the animal, feminine, instinctive, and rebellious are embraced as essential forces.
In the restored Abbey, the exhibition traces fifteen years of the French artist’s singular career (more information on the exhibition here). Her practice alternates between her studio in Normandy and residencies in places on the margins of society — prisons, hospitals, convents — where she creates clay portraits shaped by encounters with the people she meets. Back in her studio, she enriches this approach with a vast repertoire of tales, myths, and literary references, producing sculptures of animals and hybrid beings, half-human, half-animal. Through these animal presences, she highlights the shared language and subtle exchanges between human and beast.
- Creator:Cécile Raynal (1966, French)
- Creation Year:2025
- Dimensions:Height: 35.44 in (90 cm)Width: 133.86 in (340 cm)Depth: 66.93 in (170 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803116773952
Cécile Raynal
Whether human or animal, Cécile Raynal’s figures are a way to explore the world. The artist travels to remote, forgotten or marginal places immortalising in clay life stories that she brings back to her studio. Her work has been exhibited in prestigious museums such as the Musée des Arts et Métiers (Paris, 2018) and is the subject of ambitious public commissions such as the bronze sculpture of Winston Churchill in Cap-d’Ail (France). “The result of chance or sought-after encounters, my work starts with the sculpted portrait, a totemic record of each of these confrontations, and builds itself on the complicity, the exchanges and the correspondence resulting from them.”
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