1 / 8
Featured lot selected by the auctions House.
AGUTTES
85
-
AUGUSTE RENOIR (1841-1919) AND RICHARD GUINO (1890-1973)
Jud…
See original version (French)
85
-
AUGUSTE RENOIR (1841-1919) AND RICHARD GUINO (1890-1973)
Jud…
See original version (French)
Estimate €15,000 - €20,000
Voluntary lot
Description
AUGUSTE RENOIR (1841-1919) AND RICHARD GUINO (1890-1973)
Judgement of Paris
Bronze with brown patina
Signed, dated '1914' and numbered 'N°3' without founder's stamp [Florentin Godard before 1939 or, more probably, Eugène Rudier before 1952].
Cast from a model created in 1914
73 x 91 cm - 28 3/4 x 35 7/8 in.
We would like to thank Madame Adélaïde Paul-Dubois-Taine for her help in writing this note.
Bronze with brown patina, signed, dated '1914' and numbered 'N°3' with no foundry mark [Florentin Godard before 1939 or, more likely, Eugène Rudier before 1952], cast after a model created in 1914
Provenance :
Werner and Nelly Bär Collection, Zürich (acquired 1951)
Sale, An important selection of Sculpture and Drawings from the Werner and Nelly Bär Collection, Zürich, Sotheby Parke Bernet & Co, London, 30 March 1977, lot 84
Private collection, Europe (acquired at previous sale and by descent)
Bibliography :
Renoir, dessinateur, cat. expo, New York, Morgan Library, 17 October 2025-8 February 2026; Paris, Musée d'Orsay, 17 March-5 July 2026, Paris: Grand Palais - Rmn Éditions: Musée d'Orsay; New York: The Morgan Library & museum, 2025, described and reproduced under no. 183, p. 209 (the plaster copy in the Musée d'Orsay)
Guino-Renoir, la couleur de la sculpture, cat. exhibition, Perpignan, Musée Hyacinthe Rigaud, 24 June-25 November 2023, Cinisello Balsamo, Milano: Silvana editoriale, 2023, described and reproduced under no. 69, p. 121 (the Musée d'Orsay plaster copy)
Sammlung Werner und Nelly Bär, Zurich: Kunsthaus, 1965, described and reproduced under no. 183
Paul Haesaerts, Renoir, Sculpteur, Brussels: Hermes, 1947, described under no. 7 and reproduced pl. X-XIII (another copy)
Julius Meier-Graefe, Renoir, Leipzig: Klinkhardt & Biermann Verlag, 1929, described and reproduced p. 409 (another copy)
Exhibition(s) :
Chefs-d'œuvre des collections suisses de Manet à Picasso, Paris, Orangerie des Tuileries, 1967, n°70
Masterpieces from the Swiss collections from Manet to Picasso, Lausanne, Palais Beaulieu, 1964, n°70
Plastiksammlung Werner Bär, Bern, Kunstmuseum, 26 September-19 November 1959, no. 81
Zwei Zürcher Sammlungen: Werner Bär Plastik - Kurt Sponagel Graphik, Zurich, Kunsthaus, 19 August-19 September 1959, no. 81
Skulpturen von Malern von Daumier bis Picasso, Zürich, Kunsthaus, 26 October-30 November 1956, no. 102
Die Plastiksammlung Werner Bär, Winterthur, Kunstmuseum, 16 September-11 November 1951, no. 70, pl. II
Related work(s) :
Auguste Renoir (1841-1919) and Richard Guino (1890-1973), Judgement of Paris, patinated plaster, signed and dated '1914', 76.2 x 94.5 cm, Paris, Musée d'Orsay, RF 2745
Auguste Renoir (1841-1919) and Richard Guino (1890-1973), Jugement de Pâris, bronze with brown patina in five unwelded elements, signed and dated '1914' without founder's stamp, 75 x 91.5 cm, in. Sale, Prints, Paintings and Sculptures from the 19th and 20th centuries [...], Thierry de Maigret, Paris, Hôtel Drouot, 28 June 2024, lot 76 (lot not sold)
Auguste Renoir (1841-1919) and Richard Guino (1890-1973), Judgment of Paris, brown patina bronze, signed, dated '1914' and numbered 'V' without founder's stamp, 74.3 x 90.2 cm, Cleveland, The Cleveland Museum of Art, 1941.591
Auguste Renoir (1841-1919) and Richard Guino (1890-1973), Judgment of Paris, brown patina bronze, signed, dated '1914' and numbered (?) with no founder's stamp, 74.9 x 90.8 cm, Minneapolis, Minneapolis Institute of Art, 55.16
Auguste Renoir (1841-1919) and Richard Guino (1890-1973), Het Parisoordeel, 1914, bronze with brown patina, signed, dated '1914' and numbered 'VII' without the founder's stamp, 75 x 93 cm, Amsterdam, Stedeljik Museum, BA 172
Auguste Renoir (1841-1919) and Richard Guino (1890-1973), The Judgment of Paris, 1916, brown patina bronze, signed, dated '1916'(?) and numbered 'VI' with no founder's stamp (?), 73.7 cm x 90.8 cm, Wellesley, Davis Museum at Wellesley College, 1981.46
Auguste Renoir (1841-1919) and Richard Guino (1890-1973), Le Jugement de Pâris, 1914, bronze with brown patina, signed, dated '1914' and numbered 'VIII' without founder's stamp, 75 cm x 92 cm, Saarbrücken, Saarland Museum, Gallerie Moderne, NI 1203
Auguste Renoir (1841-1919), Judgement of Paris, circa 1913-1914, oil on canvas, signed lower right, 73 x 92.5 cm, Hiroshima, Hiroshima Museum of Art
Auguste Renoir (1841-1919) and Richard Guino (1890-1973), Petit Jugement de Pâris, study, 1913, plaster, 11 x 12 cm, Cagnes-sur-Mer, Musée Renoir
Commentary:
"Renoir wanted to make a monument out of his Venus Victorious. He wanted her to have a base decorated with a relief representing the complete scene of the election. He had already painted this scene many times, in drawings, pastels and oils. When Renoir had a theme that suited him and for which he had found a happy plastic interpretation, he was not quick to abandon it. Renoir began by asking his sculptor to sketch a bas-relief that could be used to decorate the base of Petite Vénus. To this end, he gave him a photo of a drawing he had made in 1908, the year in which he had also done a Judgement of Paris in oils and on canvas.
It was in his studio in Paris that Guino made this plate, with its reduced relief and medal-like appearance, measuring no more than 12 cm high and 19 cm wide. This small work lacks ease and emphasis; the central figure in particular is insignificant. But this is only a first indication. Based on it and referring to the photo of the same drawing, Guino would take up the theme again, this time in high relief. This took place at "Les Collettes" in 1914. The new version was to be used for the base of the Great Victorious Venus, and the dimensions were increased to 73 cm high and 91 cm wide. The central figure, which did not look right on the wax plate, was no longer inspired by it or the original design, but by the two Venuses already created in the round. The work looks good. The composition is both lively and strictly ordered.
The handsome Paris, in a pleated gown, a Phrygian cap on his abundant hair, ecstatic, almost on his knees, gracefully holds out the apple of triumph to an opulent Aphrodite. On either side of the chosen one, Hera and Athena, her disappointed companions, make gestures of astonishment and revolt, as far as Renoir's characters can manage. The guide of the three goddesses, Hermes in winged heels, almost merging with the sky, watches the competition and, with his raised referee's arm, seems to ratify the judgement.
The model is firm. The modulations of the background, which soberly suggest the open countryside, happily announce and support the prominences. Following the rules of a varied and simple game, a few guiding lines intertwine smoothly. Empty and full alternate with rigour and flexibility".
Paul Haesaerts, Renoir, Sculpteur, Paris: Hermes, 1947, p. 25
See original version (French)
Auto-translation. Refer to original language for legal validity.
Pictures credits: Contact the Auction House
You may also like