Jules Moigniez Hunting Covered Bronze Taza Animalier Vide Pouch

Antoine Louis Barye Theseus Slaying the Centaur Bienor Black Patinated Bronze Group. A French bronze group entitled 'Thesee combattant le centaure Bienor, esquisse' (Theseus slaying...

Emile Antoine Bourdelle (French, 1861-1929) Bronze Sculpture L' Arlequin. Conceived in 1905 and cast around 1954 A rare museum quality impressionist - Brutalist interpretation of a harlequin swordsman in bronze with black/brown patina. Bears the cast signature E. A. BOURDELLE top of the base, © by Bourdelle along one side. Foundry seal of A. VALSUANI CIRE PERDUE. On corner. Measures 16 x 16.5 x 5 inches. Very good condition throughout, no damage, repair or heavy wear. Scratches and wear to patina throughout commensurate of material age and use. Provenance: The estate of Morton and Estelle Sosland.In Kansas City, the Sosland family name is synonymous with both giving, and the arts. Of their many contributions to the community, 'The Soslands gave one of the nation's finest private collections of American Indian art to the Nelson-Atkins' museum. The content of this auction bears testament to their keen eye and varied interests. In September 1893 Bourdelle joined the studio of Auguste Rodin. His collaboration with Rodin lasted fifteen years. In 1895, he received his first official commission, a war monument for the city of Montauban. His proposed plans, different from traditional monuments, created a scandal. Rodin intervened on his behalf, and the monument was finally erected in 1902. In 1900, Bourdelle demonstrated his independence from Rodin's style with a bust of Apollo. In the same year, Bourdelle, Rodin and the sculptor Desbois opened a free school of sculpture, the Institut Rodin-Debois-Bourdelle. One of the students was Henri Matisse, who later produced some remarkable sculpture, but the school did not last long. Bourdelle in his studio sketching Grace Christie In 1905, Bourdelle had his first personal exhibition, in the gallery of the foundry-owner Hébrand. With the support of Hébrand and the material assistance of his foundry, Bourdelle was able to make larger works and earn greater recognition. His father died in 1906, and Bourdelle changed his first name to simply Antoine, after his father. He married his second wife, Cléopatre Sevastos (1892-1972), who was of Greek origin. She and their daughter, Rhodia, became a frequent inspiration for his works.[6] In 1908, Bourdelle left the studio of Rodin and set out on his own. In 1909 he exhibited a new work, Hercules the Archer at the annual Salon of the Societé Nationale des Beaux-Arts. He began to teach at the Académie de la Grande Chaumière, where his students included Giacometti, Isaac Frenkel and Adaline Kent...

A large and impressive late 19th century French animalier bronze group of a Pheasant surprised by a weasel, both animals heightened with original gilding and raised on a naturalistic...

Very fine mid-19th century French Animalier bronze study of a standing Setter with excellent hand chased surface detail and rich brown patination. Raised on a stepped naturalistic base, signed J Moigniez. Additional information: Height: 19 cm Width: 34 cm Condition: excellent original condition Circa: 1870 Materials: bronze Book reference: Les Animaliers by Jane Horswell Page no. 237 About Jules Moigniez (French, 1835 ~ 1894) Moigniez was a French animalier sculptor of the 19th century. He worked primarily in bronze and frequently exhibited his sculptures at the Paris salon. He was best known for his bronzes depicting birds, although his skill and versatility enabled him to produce quality horse sculptures (primarily racehorses), dog sculptures and hunting scenes. His bird sculptures were among the finest ever created in his time. Moigniez was born at Senlis, Oise, France in 1835, the son of a metal gilder. Moigniez’s father bought a foundry to cast his sculptures, which was of great benefit to Moigniez as he didn’t have the added foundry costs that most of his contemporaries had to pay. Moigniez studied sculpture under the tutelage of Paul Comoléra (a student of François Rude) in Paris. It is quite likely that Moigniez’s attraction to bird sculpture was a direct result of his education under Comoléra, who was himself a bird specialist. Over the course of his 40-year sculpting career Moigniez exhibited thirty works at the Salon between 1855–92. His first submission in a major art exhibition was his plaster, Pointer Stopping at a Pheasant, at the Exposition Universelle of 1855.[1][2] Moigniez was known for the fine detail and chiseling of his sculptures. His bronzes—usually cast using the lost wax method—were always immaculately chased and patinated, and were especially popular in England and Scotland.[2] More than half of his output during his lifetime was sold in the United Kingdom. By the end of the 19th century, his sculpture had become popular in the United States as well. In contrast with other animaliers of the period such are P.J. Mêne and Antoine-Louis Barye, Moigniez’s bird sculptures often incorporated highly detailed bases complete with bushes, extensive foliage and undergrowth. His castings were generally of excellent quality with a variety of patinas, the gilded and silvered patinas being the most desirable and sought after by collectors. His bronzes could be reproached for an excess of detail, a result of overly-finicky, over-worked chiseling. Moigniez received redemption, however, by portraying in his sculpture a certain “elegance of attitudes”. His Chien braque...