{"id":4899,"date":"2023-03-13T13:02:02","date_gmt":"2023-03-13T12:02:02","guid":{"rendered":"https:\/\/www.galerienicolasbourriaud.com\/?post_type=product&p=4899"},"modified":"2023-04-04T15:41:53","modified_gmt":"2023-04-04T13:41:53","slug":"duck-1911-copie","status":"publish","type":"product","link":"https:\/\/www.galerienicolasbourriaud.com\/en\/produit\/duck-1911-copie\/","title":{"rendered":"LIMBO (1888)"},"content":{"rendered":"
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The relationship between sculpture and decoration runs through Rodin\u2019s entire career and goes beyond the sculptor\u2019s work in the two first decades (1860-1880). His artistic activity exceeds the threshold of conventional categories and divisions, namely: drawing, pieces of art, \u201cSalon\u201d sculpture, monumental sculpture…. It was Carrier-Belleuse who, in May 24, 1879, urged the Manufacture de S\u00e8vres to hire Auguste Rodin.The latter fully expressed his creativity as a draftsman, sculptor and decorator in the art of porcelain, as shown by his masterpieces, Pompe\u00ef Vases The Night and The Day (1881-82) (S\u00e8vres, Mus\u00e9e National de la C\u00e9ramique, MNC 8522; Paris, Mus\u00e9e Rodin, S 2416). At the end of 1887 or early 1888, the artist was commissioned three models of the Sa\u00efgon Vase for the 1889 World Exhibition. Unlike those decorated earlier, these edition items were never worked on directly by the sculptor: he provided the Manufacture of S\u00e8vres with vases decorated with bas-reliefs, probably in plaster, which were moulded to create several copies. Rodin used motifs previously elaborated for his Gates of Hell so as to produce new ones for S\u00e8vres. It is in fact a part of the bas-relief decoration of the left pedestal of the Gates of Hell that can be seen on one side of the vase and the enamelling test Limbo that we now own: two \u2018Michelangelesque\u2019 figures chained together vertically, as if to evoke the gloomy parade of Limbo shadows…For the second enamelling test, Siren, Rodin took up again the figure, shown from the back, in the round, of the Kneeling Fauness, another character from the Gates of Hell. By turning these faunesses into sirens, he merely moved from one monstrous creature to another, both of which being associated with duplicity, seduction and voluptuousness: \u201c…, and in a few moments, she appears to my eyes, amiable and seductive. Then, with an harmonious and captivating voice, whose charm intoxicated me, she sang thus: – I am the sweet siren: in the midst of the seas, the bewitched sailors lose themselves at the sound of my voice.\u201d (Dante,The Divine Comedy).<\/p>\n

Before launching a major decor, Rodin, like his fellow decorators, carried out several tests, in particular to judge the alliance between the glaze and the moulding.The enamellers therefore vary the colours, texture and the thickness of the enamel on the parts of the decor exposed to fire in order to test their reaction. Our enamelling tests are inserted, like those of the Mus\u00e9e Rodin, in beautiful lacquered wood frames by Hamanaka (1937), a great Japanese artist who contributed to the diffusion of this art in France.<\/p>\n

It should be noted that the two models of the Rodin museum probably come from the same origin, namely Ernest-Simon Auscher, head manufacturing for the Manufacture de S\u00e8vres between 1879 and 1889, and probably the auhor of these two tests.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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THE MANUFACTURE DE S\u00c8VRES and Auguste RODIN\u00a0<\/span><\/h1>\n

White porcelain glazed in celadon tree. Inscribed on the back CD in the paste and KG in black pencil.
\nEnamelling test probably made by ES Auscher (Head of manufacturing for the Manufacture de S\u00e8vres)
\nCirca 1888
\nHeight: 6,37 \u2033
\nWidth: 4,33\u2033
\nDepth: 1,37\u2033<\/p>\n

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Lacquered wood frame signed \u2018Hama Naka\u2019 and dated on the edge year 12 of the Sh\u00f5wa era, i.e. 1937
\nHeight: 11,81\u201c(30 cm) \u2013 Width: 7,87\u201c (20 cm) with frame<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Will be included in the Catalogue critique de l\u2019oeuvre sculpt\u00e9 d\u2019Auguste Rodin in preparation under the number n\u00b0 2022-6742B<\/p>\n

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Provenance : Ernest Simon Auscher, Paris (Head of production of Manufacture de S\u00e8vres 1879-1889) ; Auction sale E.S Auscher\u2019s collection, Paris, H\u00f4tel Drouot, 31 octobre 1935 lot 112 & 113 \u00ab S\u00e8vres, 4 plaques de rev\u00eatement fond vert en 2 mod\u00e8les d\u2019apr\u00e8s Rodin r\u00e9alis\u00e9s par M. Auscher \u00bb ; Private collection, Paris.
\nRelated artworks: Manufacture de S\u00e8vres and Auguste Rodin, Portion of the Sa\u00efgon vase Limbo and Siren (1888) Height: 16,1 cm – Width: 11,7 cm – Depth: 4,5 cm, Meudon, Mus\u00e9e d\u2019Art et d\u2019Histoire. Entered the collections before1937; Manufacture de S\u00e8vres and Auguste Rodin, Limbo (1888) Height: 16,1 cm- Width: 11,7 cm – Depth: 4,5 cm Firing test, Paris, Mus\u00e9e Rodin (S. 06752), acquired in 2010.Manufacture de S\u00e8vres and Auguste Rodin, Siren (1888) Height: 12 cm -Width: 7,5 cm – Depth: 1,5 cm Firing test, Paris, Mus\u00e9e Rodin (S. 06753), acquired in 2010.
\nLiterature : Collectif, \u201cCorps et d\u00e9cors. Rodin et les arts d\u00e9coratifs\u201d Paris, mus\u00e9e Rodin, April 16 to August 22, 2010, p. 112, Essai d\u2019\u00e9maillage Les Limbes et les Syr\u00e8nes, reproduced (58) and p. 113 Vase Sa\u00efgon Les Limbes et les Syr\u00e8nes, reproduced (59) ; complementary edition page IX, Essai d\u2019\u00e9maillage Les Limbes reproduced (58bis) and Essai d\u2019\u00e9maillage La Sir\u00e8ne reproduced (58 ter) ; Collectif, Rodin Corps et d\u00e9cors, Beaux-Arts \u00e9ditions, 2010, pp. 30 and 31.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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