BRAME & LORENCEAU
France
68 Boulevard Malesherbes, 75008 Paris
Phone: +33 (0)1 45 22 16 89
contact@bramelorenceau.com
www.bramelorenceau.com
Founded in 1864, Brame & Lorenceau was born from the alliance between two art dealer dynasties.
Represented today by the fifth generation of its founders, the gallery continues to play a key role as an international dealer of Impressionist, modern, and contemporary art.
Brame & Lorenceau focuses primarily on the sale of paintings, drawings, and sculptures from private collections, carefully selecting the most attractive and representative works by each artist.
The walls of the world’s most important museums and private collections are adorned with major works from the gallery.
Located at the same Parisian address since 1921 and spanning over 500 m², Brame & Lorenceau is a favorite among collectors.
Joseph BERNARD
(1866-1931)
Faune dansant
1912
Bronze with green patina
Signed on the base
Cast no. 4
Original marble base (9 x 8 x 8 cm)
Height: 34.5 cm – 13″ 5/8
Provenance
Private collection.
Bibliography
René Jullian, Jean Bernard, Lucien Stoenesco & Pascal Grémont Gervaise, Joseph Bernard, Saint-Rémy-lès-Chevreuse: Fondation de Coubertin, 1989, p. 312, no. 189.
Dance is a major motif in Joseph Bernard’s work between 1904 and 1927, notably illustrated in the monumental work Frise de la danse (Dance Frieze) (1913, Musée d’Orsay, Paris). Generally conceived in a single movement, the forms of the figures offer a synthetic vision of dance.
Single, isolated figures, such as the Dancing Faun, are however much rarer in the sculptor’s work. Created in 1912, this Dancing Faun constitutes the first version of a later, larger statue (185 cm high), exhibited at the Salon d’Automne of 1927, and now preserved at the Museum of Fine Arts in Lyon.
The model was created around 1912 by the artist, inspired by dancer Nijinsky’s interpretation of the mythological figure in the ballet ‘Afternoon of a Faun’ directed by Serge Diaghilev.
This sculpture was presented at the International Exhibition of Decorative and Industrial Arts in 1925 in the boudoir of the Collector’s Pavilion of the Ruhlmann Group, whose architecture was designed by Pierre Patout, and for which Bernard created the bas-relief ‘La danse’ (The Dance) inscribed on the front of the building.
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