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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Mar 27, 2019 | Artcurial | Paris | Fernand Lafarge Collection: A Tribute to Sculpture | 24 | $****** - ****** | The lullaby or The Rocking Chair |
sculpture
50 x 30 cm (19.69 x 11.81 in)
Bronze with shaded green brown patina
Signed 'DALOU', seal of the foundry 'Lost wax. A.A. Hebrard 'on the back of the terrace
Remained in the artist's studio until his death;
Henry Lapauze Collection;
Anonymous sale; Paris, Hotel Drouot, Me Bellier, December 8, 1937, No. 70;
Anonymous sale; Paris, Palais Galliera, Me Rheims, December 10, 1962, No. 161 (5,000 francs);
Fernand Lafarge Collection
Albert Flament, "The deserted house", in "The Renaissance of French art and luxury industries", No. 4, April 1926, p. 216 (visible on a photograph of the office of Henry Lapauze)
Henriette Caillaux, 'Dalou. The man - the work ', Paris, 1935, p. 81 and 128
Maurice Dreyfous, 'Dalou, his life and his work', Paris, 1903, p. 62 -64
'Jules Dalou, the sculptor of the Republic', cat. exp. Paris, Petit Palais, 2013, p. 356, model and its variants referenced as No. 286
Bronze with shaded green brown patina
Unique wax lost
Signed 'DALOU', seal of the foundry 'Lost wax. A.A. Hebrard 'on the back of the terrace
Height: 54 cm (21 1/4 in.), Terrace: 50 x 30 cm (19 3/4 x 11 3/4 in.)
The Rocking Chair, bronze, green-brown patina, unique cast, signed, by J. Dalou
Dating from this stay, La Berceuse's plaster was exhibited at the Salon of the Royal Academy in 1874. The Duke of Westminster, seduced by this touching testimony of family sweetness, immediately ordered the artist's marble version, exhibited in 1876 and then bearing the title of an English lullaby "Hush-a-bye, baby". We do not know the origin of the unique Hébrard cast from this group from the Henri Lapauze collection (Fig. 1) to the Lafarge collection. Perhaps it had been done at the request of the sculptor to preserve the memory of this composition - of which the models would be Madame Dalou and their daughter Georgette - and of which there were no other examples than the plaster and the marble remained in Britain.
By contemplating the timeless scene offered by this young mother with her mouth ajar escaping a song punctuated by the gentle oscillations of rocking chair, and the plenitude of the face of his newborn abandoned with confidence to sleep, the viewer of today can only understand and join the enthusiasm of English amateurs of the late nineteenth century before the accuracy and humanity of Dalou's works.
The young Dalou's talent was noticed by Jean-Baptiste Carpeaux, who brought him to join the "little school" followed by the Ecole des Beaux-Arts. Success came in 1870 when the state bought his Embroidery (The "Embroiderer") which had been exhibited at the Salon. Purpose Dalou's involvement in the life of the community in his life in London in 1879. Having become a father, he is a mother of two children. that was common to all social classes, from the peasant to the bourgeois prosperous.
The plaster of The Lullaby, which dates to his period, was exhibited at the Royal Academy's annual exhibition in 1874. The Duke of Westminster, who was seduced by this touching example of family gentleness, immediately commissioned a version in marble from the artist, which was exhibited in 1876 with the title from the English lullaby "Hush-a-bye, baby". We do not know the origin of the unique cast by Hebrard of this group that passed from the collection of Henri Lapauze (Fig. 1) to the Lafarge collection. It may have been created in the past to be reminiscent of Dalou's wife and their daughter Georgette, as there were no other examples of the plaster and the marble that had remained in England.
In contemplating the timeless scene presented by this young mother with her mouth half open, allowing a song to escape, the rhythm being kept by the oscillations of the rocking chair, and the fullness of the face of the newborn abandoned confidant to sleep, today's viewer can not understand and join the enthusiasm of late 19th century connoisseurs in admiring the accuracy and humanity of Dalou's works.
