Sculptures, marbles and bronzes

Portrait d'homme romain de l'époque impériale - Atelier de moulage du Musée du Louvre (from 1888) Portrait of a Roman man from the Imperial period Plaster H. 80 cm W. 60 cm D. 32 cm Based on a bust statue bearing a Clodius Albinus cartel, dating from the first quarter of the 3rd century A.D., from the collection of Cardinal Alessandro ALBANI (1692-1779), in the Musée du Louvre (Paris). Louvre inventory no: LL 20 ; Ma 1083 ; N 1445 Date of present print run: between 1987 and today Possible outdoor exposure: no Condition: missing, small accidents, marks Type of print in relation to model: fragment

Antinoüs du Capitole (réduction) - Musée du Louvre casting workshop (from 1845) Antinous of the Capitol (reduction) Plaster H. 66 cm W. 26 cm D. 20 cm Based on the famous Roman antique from the Capitoline Museum, which belonged to the collection of Cardinal Alessandro ALBANI (1692-1779) and is considered one of the finest Roman copies of a Greek original, probably by one of the greatest sculptors (Praxiteles or Polyclitus). Musei Capitolini inventory no.: inv.MC0741 Date of present print run: 21st century Possible outdoor exposure : no Condition : Good condition Type of print : fragment

Charles KVAPIL (Varnsdorf 1884 - Paris 1957) - Female nude Oil on canvas 80 x 65 cm Signed lower right "Kvapil".

Console au drapé - Atelier de moulage GrandPalaisRmn (2024-), Sam BARON (1976-) An exclusive collaboration between Sam Baron and Ateliers d'art GrandPalaisRmn Console à l'antique Patinated plaster, model on base and ad hoc metal mounting H. 90 cm W. 100 cm D. 40 cm Limited edition 1/9 Original work designed by Sam BARON and produced by Ateliers GrandPalaisRmn in 2024, using the famous drape of the left arm of the Apollo of Belvedere (Vatican Museums, inventory no.: 0077660 / Musée du Louvre, 19th-century plaster: Gy 0258, produced by an Italian workshop for the École des Beaux-Arts). Sam BARON, French designer, headed the design department at Fabrica in Treviso (Italy), the Benetton group's communications research laboratory. In 2009, he was awarded the Grand Prix de la création de la ville de Paris, in the confirmed designer section, and in 2010 was named by Philippe Starck as one of the most important designers of the decade. He has designed a reinterpretation of the medallion chair for Dior Maison, which will be presented at the Milan Furniture Fair in 2021, and is collaborating with Pierre Frey. He was recently asked to design a range of stationery for the Louvre Museum boutiques. He now lives and works in Portugal. Outdoor exhibition possible: no Condition: good

Tête antique - Italian workshop Antique head Marble-filled resin, on base H. 54 cm W. 22 cm D. 28 cm Possibly based on the face of Hermes carrying the infant Dionysus, a model by the famous Greek sculptor Praxiteles. Date of present print: late 20th/early 21st century Outdoor display possible: yes Condition: small accidents, small missing parts, traces Nature of the print in relation to the model: fragment?

Hercule Farnese (réduction) - Musée du Louvre casting workshop (from 1939) Hercules Farnese (reduction) Acrylic plaster H. 74 cm W. 40 cm D. 25 cm Based on the original work by the Athenian copyist Glykon dating from the 3rd century A.D., kept at the Archaeological Museum of Naples and found in 1546 in the Baths of Caracalla in Rome, immediately returned to the Farnese collections. Naples inventory no.: Inv. 6001 Date of present print run: 21st century Possible outdoor exposure: no Condition: good Type of print: complete

Tête d'athlète vainqueur - Musée du Louvre casting workshop (from 1883) Head of a victorious athlete Patinated plaster, marbled resin base H. 44 cm W. 25 cm D. 25 cm Based on the original bronze work in the Musée du Louvre (Paris), known as the "Head of Benevento" and dated to the first century AD, based on a polycephalous model. Louvre inventory no.: NIII 3533; Br 4 Date of present print run: late 20th/early 21st century Possible outdoor exposure: no Condition: minor accidents, small missing parts Type of print compared with model: complete

Buste d'Asclepios ou Esculape - Moulding workshop of the Musée du Louvre (1794-1882) Bust of Asclepios or Aesculapius Plaster H. 70 cm W. 39 cm D. 28 cm After the so-called "Albani" type - from the famous collection of Cardinal Alessandro ALBANI (1692-1779) catalogued by his friend Winckelmann. We have here the upper part of a large marble discovered at the Villa Hadriana in Tivoli and dating from the second quarter of the 2nd century A.D. Louvre inventory no: LL 14 ; MR 726 ; N 814 ; Ma 639.1 Date of present print run: 1852-1870 Possible outdoor exposure: no Condition: missing, marks Type of print in relation to model: fragment

Maurice PROST (1894-1967) d'après - Walking panther, Art Deco bronze sculpture, black patina, black marble base. 31 x 64.2 x 11.1 cm. Signed on the marble.

Statue équestre de Louis XIV - Musée du Louvre casting workshop (from 1864), after Henry DASSON (1825-1896), after François GIRARDON (1628-1715) Equestrian statue of Louis XIV Plaster H. 107 cm W. 85 cm D. 38 cm Based on the original work created before 1704 and now in the Musée du Louvre (Paris), consisting of a reduction of the statue on Place Louis-le-Grand (now Place Vendôme) in Paris, cast in 1692 and erected in 1699. A bronze reduction was presented at the exhibitions of the Académie de peinture et de sculpture in 1699 and 1704. Louvre inventory no.: MR 3229; N 15364 Date of present print run: 20th century Possible outdoor exposure: no Condition: minor flaws, seams occasionally visible Type of print in relation to model: complete

Fragmentary statuette depicting a seated bust of the god Osiris. He wears a composite crown and agricultural implements on his chest. Bronze (heavy oxidation, visible cracks) Egypt, Late Period Height: 7.5 cm Provenance: Estate of Sir Peter Ustinov

Eduardo CHILLIDA (1924-2002) Bideak Etching numbered 20/50, signed lower left, titled on back Height 14 cm; Width: 20 cm (the motif) Provenance : - Galerie Lelong, October 1990 Twentieth-century Spanish sculptor Eduardo Chillida is acclaimed for his abstract sculptures exhibited in public spaces. After studying architecture in Madrid, he turned to sculpture in 1947, working mainly in steel and granite. Although his work has been recognized through a number of international awards and exhibitions, it has long remained little-known in Spain. His work often refers to his Basque culture. In 2000, a museum was opened in Hernani to perpetuate his legacy after his death in 2002. WARNING: STORAGE AND REMOVAL AS OUR OFFICE IS CURRENTLY UNDERGOING RENOVATIONS, ALL LOTS MUST BE COLLECTED FROM OUR FURNITURE REPOSITORY IN SAINT-OUEN, WITH YOUR PAID SLIP AND PROOF OF IDENTITY. Address: LTSE - 50, rue Ardoin 93400 Saint-Ouen - Bâtiment 556C. Open 8.30am-12.30pm - 2pm-5pm (Monday to Friday). GPS location: 48.9116440170972, 2.322533212510162. STORAGE FEES : - Free storage for all withdrawals during the first week, up to and including April 29. - 5 euros/day per lot from April 30 inclusive. SHIPPING : AUDAP & Associés DOES NOT ASSURE SHIPPING. Please contact the service provider of your choice: - The Packengers: hello@thepackengers.com - Mehdi Mentouri: mentouri.mehdi@gmail.com - LTSE : contact@ltse.fr

François Pascal Simon GÉRARD, dit le Baron Gérard (1770-1837), atelier de. - Emperor Napoleon I in coronation costume. Oil on canvas. H. 58 x L. 42 cm. In a later gilded wood frame. The Emperor's official portrait The original of this image, commissioned by Napoleon for the Hôtel du Ministère des Relations extérieures in 1805 and delivered the following year, has not yet been identified. Several French institutions now hold versions of this work by Baron Gérard. A pupil of David's since 1786, François Gérard gained notoriety in 1798 with his work Psyché et l'Amour, becoming the painter of the Château de Malmaison and the court's portraitist. In 1804, the day after his coronation at Notre-Dame, Napoleon wished to promote his new image as emperor: he turned to the greatest artists of the time and finally chose Jean-Auguste-Dominique Ingres, Robert Lefèvre and François Gérard. Three sensibilities, three styles and three different compositions. Ingres depicts Napoleon seated on his throne, from the front, in stark contrast to the tradition of the Bourbons. Napoleon appears as a sacred man, a kind of deity, which the Emperor disliked for an official portrait. Robert Lefèvre, on the other hand, presents an Emperor who is too human and not worthy enough of the imperial role. It was Gérard who succeeded in creating the perfect balance between man and emperor. Napoleon is shown standing, full-length, with his body in three-quarter view, fully in line with the aesthetic codes established by the monarchy, and thus indicating continuity of power. This image became the official representation of Napoleon in coronation regalia, and was reproduced in a variety of formats and materials, as illustrated by the tapestry produced by Manufacture des Gobelins, a version of which is now in the Metropolitan Museum, or the engraving by Auguste Boucher Desnoyers. The painter of kings and the king of painters Born and raised in Rome, François Gérard grew up in an environment close to the nobility, as his father was steward to Cardinal François-Joachim de Pierre de Bernis. Back in France, he trained at the Pension du Roi, an establishment for talented young artists. He was noticed and became a pupil of the sculptor Augustin Pajou, before becoming a pupil of David at the age of 16. Thanks to his master's protection, he was able to give free rein to his talent and became one of the leading painters of the First Empire and Restoration periods. Nicknamed "the painter of kings, the king of painters", he painted portraits of all the sovereign families of the European courts, and entertained the great artists and intellectuals of the day in his Paris salon. He became a baron in 1819. He died at the age of 67, having become a history painter and master portraitist of neoclassicism. In the 19th century, eighty-seven full-length portraits are attributed to him, as well as over two hundred full-length and bust portraits in various sizes and formats. A studio version Our relatively modest work is based on one of the versions created by Gérard with a yellow background and green carpet, like the one in the Château de Fontainebleau (ill. 2). It is part of a series of smaller versions produced by Gérard and his studio, such as the portrait of Empress Marie-Louise (ill. 4) and the portrait of Countess Katarzyna Joanna Gabrielle Starzenska (ill. 5). An X-ray (ill. 1) carried out on our portrait revealed the fineness of a drawing underlying the painting, testifying to the quality of execution in Gérard's workshop. Illustrations - ill. 1 : X-ray of our painting. - ill. 2 : Workshop of François Pascal Simon GÉRARD, Napoléon Ier en costume de sacre, 1805, 240 x 155 cm, Musée de Fontainebleau, inv. N 16 ; PN 1384. - ill. 3 François Pascal Simon GÉRARD, Napoleon I in coronation costume, c. 1815, 32 x 24.2 cm, Château de Versailles, inv. MV 4866. - ill. 4 : Workshop of François Pascal Simon GÉRARD, Empress Marie-Louise, c. 1815, 65 x 55 cm, private collection. - ill. 5: François Pascal Simon GÉRARD, Portrait of Countess Katarzyna Joanna Gabrielle Starzenska, 1803-1804, 71.5 x 43.3 cm, Royal Palace of Warsaw, inv. ZKW/5870/ab.

Bacchus et Ariane, partie de pilier hermaïque ? - Musée du Louvre casting workshop (from 1900) Bacchus and Ariadne, part of a hermaic pillar ? Plaster H. 40 cm W. 25 cm D. 26 cm Possibly based on a moose in the Vatican Museums, Map Gallery. Date of present print: between 1987 and today Possible outdoor exposure: no Condition: small accidents, small dents, small marks Type of print: complete

19th century FRENCH work of antique inspiration Bust of a young woman White marble sculpture. Chips and small chips H.20 W. 13 D. 13 cm

Deux cavaliers - Atelier de moulage du Musée du Louvre (à partir de 1864), probablement d'après une réduction par l'atelier de l'École des beaux-arts du modèle des ateliers du Louvre Deux cavaliers Plâtre H. 70 cm L. 42 cm P. 5 cm D'après le relief en marbre du bloc II de la frise ouest du Parthénon illustrant les festivités des Panathénées, par le sculpteur Phidias en 438-432 avant Jésus-Christ, aujourd'hui conservé au British Museum (Londres). N° inventaire British Museum : 1816,0610.47 N° inventaire Louvre : Gy 0728 (plâtre) Date du présent tirage : entre 1987 et aujourd'hui Exposition extérieure possible : non État : petits accidents, traces Nature du tirage par rapport au modèle : complet

Grande tête d'ours blanc - Atelier de moulage des Musées Nationaux, after François POMPON (1855-1933) Large polar bear head Resin H. 36 cm W. 41.5 cm D. 43 cm Based on the bronze print kept at the Musée Pompon (Saulieu) and featuring part of his emblematic White Bear presented at the Salon d'Automne in 1922. Saulieu inventory no.: INV471 Date of present print run: 21st century Possible outdoor exposure : no Condition : good Type of print compared to model : complete

Female Roman Marble Torso - Female Roman Marble Torso, standing female with rich falted clothes and drapped and curled hair, on integrated round base, white marble with grey veins, parts missing, weathered, damages, 135 cm high

Plaque décorative modulaire pour le métro parisien - Atelier de moulage du Musée de sculpture comparée (1882-1928), after Hector GUIMARD (1867-1942) Modular decorative plate for the Paris metro Plaster H. 120 cm W. 80 cm D. 40 cm Based on the cast-iron escutcheons adorning Paris metro entrances and forming the basic modules surrounding the outside flights of steps. Commissioned by the forerunner of the RATP, the CMP (Compagnie du chemin de fer métropolitain de Paris), this economical, typically Art Nouveau modular system appeared around 1900 and is still part of our urban landscape today. In the 1930s, this module was the subject of a photograph by BRASSAI (1899-1984), held at the Centre Pompidou (Paris) (CP inventory no.: AM2003-5 (180)). Date of present print: late 20th/early 21st century Possible outdoor exposure: no Condition: minor accidents Condition of print compared with model: complete

Sido (1934-1986) and François (1931-2016) THEVENIN Character Sculpture in cut and welded iron, mounted on a wooden base bearing the artists' monogram. H.40 cm

Jef TUERENHOUT VAN (1926-2006) - Tête de femme à la coiffe, bronze sculpture, signed with a monogram JVT, H 22cm off base.

Antonio CANOVA (Possagno, 1757-Venise, 1822), atelier de. - Emperor Napoleon I (circa 1806). Colossal marble bust on pedestal (small chips). H. 90 cm. History Antonio Canova was born in Possagno, in the province of Treviso, in 1757, the son of an architect. He lost his father at an early age, and was taught the rudiments of sculpture by his grandfather, a stonemason. He later became a pupil of Torreto, whom he followed to Venice in 1769. There, he produced his first sculptures: Orpheus and Eurydice, Apollo and Daphne, then Daedalus and Icarus. Admitted to the Académie in 1779, he moved to Rome, which was to become the center of his dazzling career. In 1783, Canova met Quatremère de Quincy, the most severe theorist of the return to Antiquity, who became his friend and mentor. He trained himself to achieve Greek purity and perfection in his work. After much negotiation, he finally accepted Napoleon's offer to come to Paris at the end of 1802. It was during this visit that he conceived the statue of Napoleon as the peacemaker Mars, and after many posing sessions, he modeled a clay bust of the Emperor, from which he made a plaster cast that served as the basis for the final statue. The most renowned sculptor of his time in Italy, he became one of the Emperor's favorite artists. He died in Venice on October 13, 1922. The colossal bust of Napoleon I The model for this bust was made by Antonio Canova for a commission he received in 1801 from the provisional government of the Cisalpine Republic, expressed by Giovanni Battista Sommariva, to decorate the foro Bonaparte. The idea was to sculpt a Napoleon crowned by Victory, as desired by Antolini, the forum's architect. However, Canova soon imposed his idea of adorning the whole with a colossal statue of Napoleon as a disarmed, peacemaking Mars (ill.1). Despite the abandonment of the foro Bonaparte project, Canova went ahead with this work for Napoleon. Although the latter assigned a political role to artistic productions, he limited his directives when commissioning Canova, stating that "one does not impose laws on genius". Concerned, however, by the statue's total nudity, the artist reassured him that a heroic statue could not be presented in any other way. Special attention was paid to Napoleon's head, which Canova worked to improve, tilting it slightly to the right and accentuating Bonaparte's antique aesthetic. In so doing, he enhanced the First Consul's features, turning him into an ancient hero who was already approaching the figure of the Roman emperor. Completed in the spring of 1803, the sculpture of the head was the subject of numerous copies by Canova, which he entrusted to sculptors such as Callamard and Labourreur, as well as to personalities of the regime such as Dominique-Vivant Denon. The statue was completed in 1806, but was first presented to the Emperor in 1811 in the Salle des hommes illustres of the Musée Napoléon. The complete nudity of the sculpture clashed with the principle of decency advocated by the sovereign, who was dissatisfied with the representation and ordered that it be hidden behind a partition and that no comment be made by the press. However, busts made from the statue did not pose this problem, and were widely distributed throughout the Empire in the manner of Augustus. This bust is an idealized, even divinized image of Napoleon. Perfectly in keeping with the codes of ancient statuary, it corresponds to the Greek and Roman canons of beauty. A heroic beauty reminiscent of the classical style of Greek statuary emanates from the sublimated features, while the slightly furrowed brow is marked by a wrinkle evoking Roman gravitas and presaging future representations of the Roman emperor. The carefully sculpted eyes gaze into the distance, towards conquests and the future. Enhanced cheekbones at the end of a square jawline give the face a virile, antique beauty. Napoleon's future imperial power emanates from this bust, which magnifies him and confers on him the title of conqueror and sovereign. Related works - Antonio Canova, Statue de Napoléon en Mars pacificateur, 1806, Apsley House, London, inv. WM.1442-1948 (ill. 1). - Antonio Canova, Buste colossal de Napoléon, marble, early 19th century, Devonshire collection, Chatsworth. - Antonio Canova, Buste colossal de Napoléon, early 19th century, Palazzo Pitti, Florence, inv. 0034588 (ill. 2). - Antonio Canova, Buste colossal de Napoléon, early 19th century, Musée du Louvre, inv. RF1986 (ill. 3) - After Antonio Canova, Bust

Limestone bishop's head, miter decorated with stylized motifs (accidents and restorations) Gothic art, 14th century Height: 40 cm with base

Kinart Odile - original terracotta sculpture - 32 cm

Hercule portant le taureau de Crète - Moulding workshop, École des Beaux-Arts, Paris Hercules carrying the Cretan bull Plaster H. 49 cm W. 30 cm D. 6 cm Based on the original Roman imperial terracotta work in the Musée du Louvre (Paris), which belonged to Giampietro CAMPANA, marquis di Cavelli (1809-1880). The same motif is featured in an early 16th-century Italian engraving from the collection of Baron Edmond de Rothschild (Musée du Louvre, inventory no.: 3934 LR/ Recto). Louvre inventory no.: Cp 4170 Date of present print: 20th century Possible outdoor exposure: no Condition: minor accidents, missing parts Type of print: fragment

Buste de Napoléon - Atelier de moulage du Musée de sculpture comparée (1882-1928), after Jean-Jacques OGER (1759-1842) after Antoine Denis CHAUDET (1763-1810) Bust of Napoleon Plaster H. 30 cm W. 16 cm D. 16 cm Based on the original early 19th-century work in the Musée national des châteaux de Malmaison et Bois-Préau (Rueil-Malmaison), produced in hard porcelain at the Sèvres factory by Jean-Jacques OGER after the official portrait by Antoine Denis CHAUDET. Malmaison inventory no.: M.M.40.47.4366 Date of present print run: between 1987 and today Possible outdoor exposure: no Condition: minor accidents, traces Type of print in relation to model : complete

Kinart Odile - bronze sculpture - 2/8 - 30 cm

L'Homme qui marche - Atelier de moulage des Musées Nationaux (1928-), after Auguste RODIN (1840-1917) Walking Man Resin filled with bronze powder H. 86 cm W. 25 cm D. 60 cm Based on the original work in the Musée Faure in Aix-les-Bains, whose exceptional Rodin collection was built up by Dr. Faure, the doctor of pharmacy behind the Bonjean elixir, who bequeathed his collections to the town in 1942. Date of present print: 21st century Outdoor display possible: yes Condition: good Type of print compared to model: complete

Héraklès nu assis sur une peau de lion dit « Epitrapezios » - Musée du Louvre casting workshop (from 1883) Nude Herakles seated on a lion skin, known as "Epitrapezios". Patinated plaster H. 40 cm W. 26 cm D. 17 cm Based on the original work in the Musée du Louvre (Paris), dating from the 2nd century A.D. and discovered in Izmir (Smyrna). This work is based on a bronze model by the Greek sculptor Lysippus, dating from the 4th century B.C. and known as "Epitrapezios", characterizing small statues made for tables or, according to other interpretations, the posture of the "attablé" god. Louvre inventory no: LP 2651; Ma 28 Date of present print run: between 1987 and today Possible outdoor exposure: no Condition: minor accidents, small missing parts Type of print: complete

Johannes DOMMISSE (1878-1955) - Young African, plaster bust, signed on the base, +-31cm (including base).

Alabaster sculpture -Christ bust- anonymous Italian school 19th century H:31cm

Kinart Odile et JB - original terracotta sculpture - 34 cm -

Tête de bélier (partie du vase décoré des attributs du Printemps) - Atelier de moulage des Musées Nationaux (1928-), after a work by Jacques VERBERCKT (1704-1771) Ram's head (part of the vase decorated with the attributes of Spring) Plaster H. 46 cm W. 28 cm D. 33 cm Based on the original 1747 work in the Musée du Louvre (Paris), one of four vases commissioned in 1742 by Philibert Orry, Director General of Bâtiments du roi, to designs by Ange-Jacques Gabriel, for the park of the Château Royal de Choisy. Never installed there, they were deposited in the Salle des Antiques of the Louvre palace in 1753. Louvre inventory no.: RF 272 Date of present print run: between 1987 and today Possible outdoor exposure: no Condition: traces, good overall condition Type of print: fragment

Buste de Marie-Antoinette - Atelier de moulage des Musées Nationaux (1928-), after Simon Louis BOIZOT (1743-1809) Bust of Marie-Antoinette Resin H. 40.5 cm W. 24.5 cm D. 17 cm Based on the original 1781 Sèvres cookie in the Musée du Louvre (Paris). Louvre inventory no.: OA 10898 Date of present print run: 21st century Outdoor display possible : no Condition : good Type of print : complete

19th century FRENCH SCHOOL Saint Louis on horseback brandishing his sword Bronze proof with brown patina. Sword slightly twisted. H.31 cm

Emmanuel FREMIET (1824-1910) Louis d'orléans Chased gilt bronze Signed on the terrace Founder's mark F. BARBEDIENNE FONDEUR Green marble quadrangular base 74x42x25 cm

Forêt-Noire (Suisse/Allemagne) - Pair of "Black Forest" sculptures in carved wood forming a lamp, engraved Genève on the base. H: +-17cm (wood sculpture).

Edouard DROUOT (1859 - 1945) "La Source". Proof in bronze with shaded golden patina on a scrolled body terrace (minor oxidation). Titled on the front, signed and stamped BD. Height: 59 cm. Expert: Madame Amélie Marcilhac

François POMPON "Panthère noire" - François POMPON (1855-1933) (after) "Black Panther Black patina bronze sculpture, posthumous lost-wax casting. Limited edition, numbered XXIV/XXIV (on the back leg) and stamped by the EBANO foundry in Spain, slight signs of use. Size: 22 x 59 cm

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable", 1935-1936. Relief in terracotta on wooden base. Work cataloged in the book "Manolo. Sculpture, painting and drawing", Montserrat Blanch, nº197, page 114. Provenance: Jacky J. Druker Collection, friend and patron of Joan Brotat. Measurements: 34 x 34 x 3 cm; 6 cm (base height). In the catalog raisonné on Manolo Hugué written by Montserrat Blanch several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose theme are oxen (generally represented in pairs), of which the piece in question is part. It is a production made between 1917 and 1923, years in which the sculptor breathes new thematic and formal suggestions into terracotta. Back in Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a sum of strategies to escape from all stagnation and renew the sculptural language without ceasing to dialogue with the classics. In this relief, a serene energy palpitates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox flex to adapt to the angle, seeking a certain conceptual tension between the volumes and their enclosure in a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.

Le Quadrige de Nyx et Hespèros - Moulding workshop at the Musée du Louvre (1794-1882) The Quadriga of Nyx and Hespèros Plaster H. 75 cm W. 145 cm D. 10 cm If plaster prints are by nature multiple, it would seem, in this case, that the originals are too. Found in pairs, we have the print of a counterpart here. The divinities depicted, while undoubtedly mythological and celestial, have often changed identity: Eos and Phosphoros or Helios, or Phosphoros in front of the chariot of Hemera and Hesperos in front of the chariot of Nyx (a bias taken here, in reference to the print preserved in the Musée du Louvre, reference below). In this case, our plaster seems to be based on the work conserved at the Fondation Martin Bodmer in Cologny (Switzerland). But others of the same type exist in the Lisbon Museum and were part of the Duke de Loulé's collection. These similar works were supposedly found in Ephesus, Pompeii or Herculaneum, and could therefore have come from the Prince d'Elboeuf's excavations or been donated by the King of Naples. Our plaster is therefore the bearer of debate, research and, even today, an aura of mystery. Louvre inventory no.: Gy 0455 Date of present print run: between 1987 and today Possible outdoor exposure: no Condition: missing, small accidents, marks Type of print in relation to model: complete

Sculpted alabaster bas-relief with polychrome remains depicting the Entombment. Several figures, including the Virgin at prayer, assist Nicodemus and Joseph of Arimathea as they lay Christ's body in the tomb; Mary Magdalene is seated lower left beside her ointment vase, facing a thurifer angel (accidents, missing parts and erosion). York ?, second half of the 15th century Height: 40 cm - Width: 26 cm Mounted on a red velvet base Although fragmentary, this alabaster is interesting for its original composition. Often, Mary Magdalene and the thurifer angel are depicted in the foreground, while Joseph of Arimathea, who places Christ's body in the tomb, stands behind (Cl. 19322 and Cl. 19324). While Joseph of Arimathea is in the foreground, facing Mary Magdalene, the angel disappears (Cl. 19325). Here, all three figures are depicted in the same plane. Works consulted : - C. Prigent, Les sculptures anglaises d'albâtre au musée national du Moyen Âge Thermes de Cluny, Paris, 1998, p 85 to 87. - F. Cheetham, Alabaster Images of medieval England, The Association for Cultural Exchange and The Boydell Press, 2003, pl. Life of Christ, no. 67 to 71. - F. Cheetham, English medieval Alabasters with a catalog of the collection in the Victoria and Albert Museum, The Association for Cultural Exchange and The Boydell Press, 2005, p 266-270.

Paul LANDOWSKI (1875-1961) Aviation or Human Aspiration Bronze with brown patina Signed "Landowski Bears the founder's mark F. BARBEDIENNE / FONDEURS PARIS 80x20x19 cm. (play on right arm attachment)

Kinart Odile - original terracotta sculpture - 55 cm - chips and missing parts

Le Tireur d'épine ou Spinario - Atelier de moulage des Musées Nationaux (1928-) The Thorn Shooter or Spinario Bronze H. 18 cm W. 8.5 cm D. 12 cm Based on the small bronze in the Musée du Louvre (Paris), made by Severo da Ravenna's workshop, after the Spinario from the Palazzo del Campidoglio in Rome, dating from the first century BC. Louvre inventory no.: OA 6129 Date of present print run: 21st century Possible outdoor exposure: yes Condition: good Type of print: complete

FRENCH SCHOOL, late 19th century Medieval king leaning on his sword Proof in regula with dark patina. H.54 cm

Archer de Darius Ier (réduction, profil gauche, partie de la frise des archers) - Musée du Louvre casting workshop (from 1893) Archer of Darius I (reduction, left profile, part of the archers' frieze) Patinated plaster H. 100 cm W. 35 cm D. 6 cm Based on the original work from the Achaemenid period (522-486 B.C.) in the Musée du Louvre (Paris), discovered in Susa, in the Apadana of Darius' palace. Louvre inventory no.: probably SB 3303; PEZARD ET POTTIER 355 Date of present print run: second half of 20th century Possible outdoor exposure: no Condition: missing Type of print compared with model: complete

19th century FRENCH work, after Jean- Dominique INGRES (1780-1867) Joan of Arc standing, holding a standard after the painting Joan of Arc at the coronation of King Charles VII, 1854. Proof in regula with brown patina designated on a cartel fixed to the base Jeanne d'Arc d'après Ingres. H.37.5 cm

19th century FRENCH work Angel with cross Bronze proof with golden patina, mounted on a black and white veined marble base. H.55 cm without base H.69.5 cm with base

Tête de Méduse (fond d'une vasque) - Musée du Louvre casting workshop (from 1900) Head of Medusa (bottom of a basin) Plaster H. 19 cm D. 50 cm Based on the face of Medusa sculpted at the bottom of a second-century A.D. basin, discovered in Rome near the Tiber at the foot of the Aventine in 1720, and once part of the collection of Cardinal Alessandro ALBANI (1692-1779). Louvre inventory no: LL 29 ; Ma 90 Date of present print run: 21st century Possible outdoor exposure : no Condition : Good condition Type of print in relation to model : complete