Rembrandt Bugatti sculpteur

Fromanger Expert

Sun, 26 Oct 2025 09:10:43 GMT

Fromanger Expert. Livres éditions 2010 et 2016:

"Rembrandt Bugatti - Répertoire monographique

une trajectoire foudroyante , a meteoric rise"

fromanger@rembrandtbugatti.info

Les livres des éditions 2010 et 2016

Rembrandt Bugatti Sculpteur-Répertoire monographique sont toujours disponibles , contact : fromanger@rembrandtbugatti.info

Bugatti-Reaching for perfection

Tue, 19 Nov 2024 13:55:39 GMT

Exposition Academy Art Museum:Bugatti-Reaching for perfection

Essays by Lee Glazer, Ken Gross, and

Véronique Fromanger

Featuring essays by leading scholars and dazzling illustrations of Bugatti cars, sculpture, and furniture, augmented with period photographs, advertisements, and other ephemera, Bugatti: Reaching for Perfection provides lasting documentation of an ambitious exhibition and a deeper contextualization of the biographical and cultural stories it explores.

This book was generously sponsored by Keith Stoltz, in honor of his parents, Susan and Jack Stoltz, for their exceptional support of the arts in Easton, Maryland, for a quarter of a century.

Featuring loans from two important private family collections never before seen together, along with pieces from the Museum of Fine Arts, Houston, and the Virginia Museum of Fine Arts, this bijoux exhibition of cars, sculpture, and furniture will illuminate the multigenerational ambition and creativity of the Bugatti. Among the highlights are eight bronze sculptures from the Arsidi-Scuderi Collection of Lugano, Switzerland, and five rare Bugatti cars from an Eastern Shore collection: two grand prix race cars, two Type 57 touring cars, and a miniature “Baby.”

The exhibition will explore the rich artistic and technological legacies of the peripatetic Bugatti family, beginning with patriarch Carlo Bugatti (1856-1940). His fin-de-siècle furniture designs, which debuted at international expositions in London, Paris, Milan, and Turin, are noteworthy for their fanciful combination of materials: ebonized wood inlaid with copper, brass, ivory, mother-of-pearl, and vellum, which he often decorated with leather tassels, geometric marquetry, and painted designs. Sons Ettore (1881-1947) and Rembrandt (1884-1916) inherited their father’s artistic passion but pursued di!erent paths. Rembrandt had a tragically brief career as a sculptor, producing deeply empathetic and impressionistic portraits of animals. Ettore, meanwhile, became a celebrated automobile designer. Although he famously declared, “Perfection is never reached,” he pursued it throughout his career. The cars that he and his elder son, Jean (1909-1939), designed came to epitomize the speed and dynamism of modernity. But the cars were much more than machines. As automotive scholar and guest curator Ken Gross has observed, “Everything about Bugatti was artistic: the cars, their advertising, and the enduring joie de vivre associated with the marque.”

du 5 décembre 2024 au 30 avril 2025 -Easton Maryland

ACADEMY ART MUSEUM

Toute une vie:Delon-Bugatti

Sun, 18 Aug 2024 08:15:50 GMT

Toute une vie avec Bugatti: Alain Delon 1935-2024:

en 2016 la journaliste Valérie du Figaro lui demande :

"vous auriez aimé le rencontrer?"

Alain Delon lui répond avec émotion en retenant son souffle:

"ouf....j'aurais été son objet, son serviteur, saurait été formidable

il y a tout chez Bugatti, toute la vie, tous les sentiments sont dans ses oeuvres, j'ai envie de les embrasser comme un fou"

A whole life with Bugatti: Alain Delon 1935-2024:

in 2016 the journalist Valérie from Le Figaro asked him:

"would you have liked to meet him?"

Alain Delon answered her with emotion, holding his breath:

"phew....I would have been his object, his servant, it would have been great

there is everything in Bugatti, all life, all feelings are in his works, I want to kiss them like crazy"

Delon-Bugatti: un oeil d'autodidacte prodigieusement aigu, tel est le lien qui les unit-the sharp eye of a self-taught man, such is the link between them.

De 1979 à 2024, la collection Alain Delon.

Que peut-on dire d'un homme comme lui?

Dans le monde entier Alain Delon est une icône, déjà une légende, une image étincelante, charnelle, sauvage.Mais, derrière les mots et les images, il n'y a plus qu'un artiste solitaire dont la sensibilité à fleur de peau est extrême.

Collectionner les oeuvres d'art fut toujours pour lui un mode d'expression vital.

Sa rencontre avec Rembrandt Bugatti était inévitable.

From 1979 to 2024, the Alain Delon collection.

What can we say about this man?

Worldwide Alain Delon is an icon, already a legend, a sparkling, carnal, wild image.

But behind the words and the images there is only one solitary man, an artist whose sensitivity is extreme.Collecting works of art is for him a vital mode of expression.

His meeting with Rembrandt Bugatti was inevitable.

Bugatti, une dynastie de créateurs

Wed, 14 Aug 2024 15:48:41 GMT

Uzès Exposition : Carlo, Ettore, Rembrandt Bugatti

The body content of your post goes here. To edit this text, click on it and delete this default text and start typing your own or paste your own from a different source.

Les félins de Rembrandt Bugatti

Wed, 14 Aug 2024 15:32:53 GMT

Le Lion dévorant de Rembrandt Bugatti

ACQUISITION OF THE “DEVOURING LION” FROM THE COLLECTION OF ALAIN DELON ON THE OCCASION OF THE 125TH ANNIVERSARY OF THE STÄDELSCHER MUSEUMS-VEREIN

Frankfurt am Main, 26 June 2024. The Städelscher Museums-Verein is celebrating its 125th anniversary with a major acquisition: the bronze sculpture Devouring Lion by

Rembrandt Bugatti (1884–1916). With this 1908 figure, the Städel Museum in Frankfurt am Main has acquired a major work by the Italian artist and is now one of only two museums in Germany to be able to present its public with a bronze by this outstanding sculptor. The sculpture was purchased by the Städelscher Museums-Verein with funds from Volker Westerborg and private donations. The Devouring Lion previously belonged to the art collection of the actor Alain Delon, who owns one of the world's most important collections of works by Rembrandt Bugatti. Sculptures by the artist were last shown at the Städel Museum in 2020 in the special exhibition “En

Passant. Impressionism in Sculpture”. On permanent loan from the patrons’ association, the anniversary acquisition is currently on view in the Städel Museum’s collection presentation of “Modern Art” and can be seen in the Impressionist Hall in dialogue with sculptures by Edgar Degas and Auguste Rodin.

The Städelscher Museums-Verein was founded on 27 June 1899, making it one of the oldest and largest patrons’ associations of a German museum today.

“Rembrandt Bugatti is one of the greatest sculptural talents in the history of art. By the time of his untimely death at the age of thirty-one, he had created an unparalleled

oeuvre of some 300 sculptures, of which the Devouring Lion from the private collection of Alain Delon is one of the most important. As always, in a single working process of just a few hours, Bugatti translated the essence, appearance and tension of his model into a sculptural work that seems to break down and dissolve the boundaries between object and abstraction. The Devouring Lion is a milestone in early twentieth-century sculpture and an extraordinary addition to the Städel Museum. I congratulate the Städelscher Museums-Verein on this special anniversary

acquisition. I would also like to thank Véronique Fromanger, Paris, and Edward Horswell, Sladmore Gallery, London, for their selfless support of this extraordinary acquisition”, says Philipp Demandt, Director of the Städel Museum.

Bugatti et les musées américains

Tue, 28 Mar 2023 10:21:22 GMT

Bugatti et les musées américains

Rembrandt Bugatti et les musées américains

Bugatti was twenty years old when he first met Hébrard. He was a discreet, silent, solitary young man, always very carefully dressed with his own highly original sense of style.

Bugatti was an Italian from Milan endowed with a rare physical strength, an olive complexion and an abundant head of hair. When sending postcards to family or friends, his self-portrait sketches show him as half-man, half-beast, or with excessively sized arms and legs in various comical situations. At the Jardin des Plantes, his giant figure, his demeanour, his step, and his entirely natural and sophisticated elegance set him apart; a character straight out of legend or the New World.

In calling him “L’Américain”, the Muséum regulars were not so far wrong. Like Leo Tolstoy and perhaps Giovanni Segantini, Bugatti could have been a devoted reader of the American writers John Muir (1838–1914), Jack London (1876–1916), Walt Whitman (1819–1892), Ralph Waldo Emerson (1803–1882), Henry David Thoreau (1817–1862) and the essayist and naturalist John Burroughs (1837–1921).

-Georgia Museum of Art, Athens, Géorgie

Zébu nain au repos (R.M.n°230), édition originale A.-A. Hébrard (don de Mary et Michael Erlanger, 1994, Inv.n°GNOA1994.56)

-Indiana University Art Museum, Bloomington, Indiana

Girafe buvant (R.M.n°200), tirage (2), édition originale A.-A. Hébrard (don de la Arthur R. Metz Foundation, 1994)

-Cleveland Museum of Art, Cleveland, Ohio

Petite Panthère marchanT (R.M.n°120), tirage (5), édition originale A.-A. Hébrard (don de Mr. Noah L. Butkin, 1977)

-National Museum of Wildlife Art, Jackson Hole, Wyoming

Cigogne au repos (R.M.n°188), tirage (?), édition originale A.-A. Hébrard (acquisition, 2010)

Antilope « canna » (R.M.n°244), tirage (5), édition originale A.-A. Hébrard (acquisition, 1998, JKMCollection JL1998.034)

Petites Antilopes goudou « deux amis » (R.M.n°272), tirage (?), édition originale A.-A. Hébrard (acquisition, 2010)

-Los Angeles County Museum of Art (L.A.C.M.A.), Los Angeles, Californie

Petites Antilopes goudou (Inv.n°.31.12.31)

Autruche tête bass e (Inv.n°.39.12.28) [don de Paul Rodman Mabury]

-The Mullin Automotive Museum, Oxnard, Californie

Barbara Bugatti en robe à longues manches (R.M.n°210), tirage (1), édition originale A.-A. Hébrard

Jaguar assis , petit modèle (R.M.n°219), édition originale A.-A. Hébrard

Jaguar accroupi , petit modèle (R.M.n°220), tirage (16), édition originale A.-A. Hébrard

-The San Diego Museum of Art, San Diego, Californie

Panthère marchant, patte arrière levée (R.M.n°122), Inv.n° 1938.155.a, don de Carlotta Mabury

Petit Faon axis (R.M.n°267), Inv.n° 1938.155.b, don de Carlotta Mabury, 1938

-The San Francisco Museum of Modern Art, San Francisco, Cali fornie

Babouin sacré « hamadryas » ou Singe cynocéphale (R.M.n°238), tirage (4), édition originale A.-A. Hébrard (don de Helen Irwin Fagan, 1975, Inv.n°1975.514)

-Hirschhorn Museum, Smithsonian Institution, Washington D.C. (modèles donnés par Mrs. David K.E. Bruce, 1977)

Bison d’Europe (R.M.n°26), tirage (4), édition originale A.-A. Hébrard

Babouin sacré « hamadryas » ou Singe cynocéphale (R.M.n°238), tirage (9), édition originale A.-A. Hébrard

Rhinocéros de trois ans (R.M.n°249), tirage (3), édition originale A.-A. Hébrard

Tigre royal (R.M.n°316), tirage (8), édition originale A.-A.Hébrard

Rembrandt Bugatti:

“I hope and indeed believe I am successful in creating a body of work like no other animalier sculptor before or since [...]”.

A portrait of Rembrandt Bugatti by Marcel Horteloup

Right from his earliest works, Bugatti chose the medium of modelling to express his vision of the living world. This approach would not be altered over the entire course of his brief and dazzling career. Despite his voluntary isolation and the burdens of solitude and penury he would bear, for fifteen years he had one sole obsession: to pursue his oeuvre and achieve his aesthetic ideal by “approaching perfection in his art”.

The article written by his friend the English art critic, Marcel Horteloup, in the magazine The Studio in 1906 is fundamental to understanding Rembrandt Bugatti: “You have to have seen Bugatti in his studio surrounded by his faithful companions to understand not only the joy which he got from the relationships with those he called his friends, but also the emotional attachment and admiring curiosity in his eyes when he observed the silent conversation of this little community living together [...] Bugatti will tell you, further, without boastfulness or vanity, simply stating the fact, that he knows nothing of animal anatomy, and relies solely on his eye to remain faithful to the truth. His fingers and a few centimetres of iron wire twisted into racket-shape are his only working tools, as anyone may see by watching the artist at work with his models in the Jardin des Plantes, whither he goes every morning, taking with him his supply of “plastidine.” With such enthusiasm does he praise the malleability and infinite suppleness of this wax, the only type with which, according to him, he can express himself completely, because only this wax can adapt to the different demands of the sculptor, obliged to formulate in a single material the infinitely variable components of all that he must translate. We know with which light effects, by which lighting the artist manages to create the illusion by cleverly distributing the brightness and shadow. Bugatti told me one day how the study of these questions, fundamental if he is hope to approach perfection in his art, interests him and he underlined particularly the admirable resources of the wax in which one trails a single finger in one direction or another, without altering the established plains, he manages to create tonalities, creating effects diverse enough to establish a just relationship between the differences which characterise the infinite variety of material of all things".

Bugatti aime les oiseaux

bugatti.conservatoire@orange.fr (veronique fromanger) — Fri, 02 Dec 2022 17:29:38 GMT

Bugatti aime tous les oiseaux: les Cigognes, les Flamants, Les Marabouts, les Jabirus, les Pélicans, les Vautours, les Condors

Bugatti a une relation particulière avec les échassiers migrateurs dont il se sent proche. Sur plusieurs photos de l’époque, on peut le voir près d’une cigogne à laquelle il donne à manger.

Le Jardin zoologique d’Anvers est très riche en oiseaux exotiques ou d’espèces rares et possède la plus belle collection d’oiseaux de proie. Plusieurs maisons et grandes volières leur sont réservées.

Contrairement à ce que l’on croit, ce n’est pas l’étendue de la volière qui est importante mais la qualité de l’espace, c’est-à-dire l’aménagement des points fixes qui permettent à l’oiseau de se livrer à ses activités.

Mais toutes les espèces ne peuvent pas être assemblées dans un même lieu car les rapports de force ne sont pas identiques et la notion de territoire non plus. Les grues, les cigognes se côtoient volontiers tandis que les marabouts, les jabirus, les vautours, les condors, les serpentaires que Bugatti va modeler plus tard vivent séparément dans des enclos. Les flamants roses et les pélicans occupent les étangs au milieu du jardin zoologique.

Ce sont d’abord les pélicans et les cigognes que Bugatti observe, en approchant d’eux au plus près pour pouvoir capter et analyser leurs attitudes, leurs mouvements, leurs sonorités.

La cigogne blanche a la même façon de procéder que le pélican en période de reproduction : elle recherche le voisinage de l’homme et nous annonce le retour du printemps. La cigogne vit en couple toute sa vie et son dévouement maternel fait l’objet d’un vrai culte.

Bugatti les approche facilement et les connaît si bien qu’il parvient à les modeler en couple, au repos (Deux cigognes au repos, l’une couchée, R.M.n°187), ou bien en plein mouvement quand l’une d’elles marche d’un pas mesuré sur ses grandes pattes fines et légères (Cigogne en marche, R.M.n°191), ou encore quand elle lisse ses plumes (Cigogne une aile déployée, R.M.n°190). Bugatti offrira cette dernière à Hébrard, avec une dédicace rédigée sur la terrasse du bronze : « Hommage et reconnaissance au Chevalier A.-A. Hébrard ». Exceptionnellement, chacun de ces modèles sera fondu en bronze par Hébrard en pièce unique, la finesse des pattes supposant un tour de force, un exploit technique pour son fondeur exclusif Albino Palazzolo. M. David Weill, le prince de Wagram, Madame Chartier en seront les acquéreurs.

Éléphants "il y arrivera" et "mendiant"

bugatti.conservatoire@orange.fr (veronique fromanger) — Sun, 04 Sep 2022 16:14:21 GMT

Éléphants "Il y arrivera" et "mendiant"

Au zoo d’Anvers, entre 1907 et 1910, Bugatti va modeler les É léphants d’Asie.

La maison des éléphants est une copie d’un temple égyptien dont la façade majestueuse et les lignes architecturales en font un des plus beaux édifices du jardin.

À l’intérieur, des cages latérales bordent un vaste hall éclairé par le haut. les éléphants d’Asie connus pour être beaucoup plus adaptés à la captivité que les éléphants d’Afrique. Le mâle et la femelles portent des titres particuliers : LÉ léphant « il y arrivera » (R.M.n°209) et É léphant « mendiant » (R.M.n°210). Ces gigantesques masses musculaires ne sont que force douée d’une mobilité et d’une habilité extraordinaire, tout en ayant une remarquable aptitude à se souvenir des évènements et à agir en conséquence.

Pour les modeler, Bugatti s’est placé devant leur enclos et leur donne à manger à terre. Les éléphants passent leur trompe à travers les barreaux et viennent demander, quémander ou prendre les gourmandises. Avant de porter quoi que ce soit à leur bouche, les éléphants palpent et flairent avec leur trompe, cette masse de muscles peut mesurer jusqu’à deux mètres de long et se termine par deux « doigts » préhensibles et tactiles. Grâce à elle l’éléphant respire, aspire, avertit, sent, touche, cueille, arrache.

Ces postures, Bugatti a su magistralement les capter en provoquant lui-même le mouvement. Quoique modelés en petits formats, ces éléphants d’Asie sont de « véritables architectures vivantes ». Aucun artiste animalier n’a jamais réussi à traduire en sculpture un tel ensemble.

Chaque fois que le temps le permet, le gardien les fait passer dans le grand enclos à ciel ouvert pour la promenade et le bain. Dans cet enclos, Bugatti réalise un deuxième portrait du mâle : É léphant d’Asie, en marche (R.M.n°233), tout aussi remarquable dans le rythme du mouvement, la puissance harmonieuse des formes et des proportions, l’eurythmie des lignes.

Ces deux éléphants d’Asie seront reproduits en bronze par Albino Palazzolo pour la Fonderie Hébrard à cinq exemplaires chacun, et pour chacun d’eux le fondeur Hébrard choisira une patine de couleur particulière: Le Jardin zoologique d’Anvers et le musée de Rome vont acheter les tirages (1) et (2) de l’ É léphant "mendiant", Jean Coquelin les tirages numérotés (3) des deux É léphants « il y arrivera » et "mendiant", Philippe de Rothschild et Ferruccio Stephani, de Milan, les tirages (4) et (5) de l’ É léphant "mendiant". Maurice Keller, M. Maire, à É pinal, et Madame Osterieth vont acheter respectivement les tirages (2), (5) et (1) de l’ É léphant « il y arrivera ».

The Antwerp Zoo provided the location for Rembrandt Bugatti’s modelling of the Asian elephants.

The elephant house was an imitation Egyptian temple, whose majestic façade and architectural lines made it one of the most beautiful edifices at the zoo. Inside, cages placed side by side lined a vast hall lit from above. It was here, between 1907–1910, that Bugatti sculpted the Asian elephants, who were much better suited to captivity than the African elephants. He gave the male and female specific titles: Éléphant d’Asie “il y arrivera” (R.M. n ^o 209) and Éléphant d’Asie “mendiant” (R.M. n ^o 210). The elephants are gigantic bulks of muscle, quite simply brute force endowed with an extraordinary mobility and dexterity, and possessing a remarkable aptitude for remembering events and acting accordingly.

When he modelled the elephants, Bugatti would position himself before their enclosure and place some food for them on the ground. The elephants pushed their trunks through the bars requesting food and would then carry away the proffered treats. Yet before putting anything into their mouths, the elephants explored and sniffed with their trunk; a mass of muscle measuring up to two metres in length and ending in two tactile, prehensile “fingers” allowing the elephant to breathe, suck, warn, smell, touch, grab and tear.

These physical gestures were magnificently captured by Bugatti, who actively encouraged the animals to move around. Although created as small-scale models, these Asian elephants are indeed “true living architecture.” No other animalier artist anywhere has ever succeeded in translating such an ensemble of creatures into sculpture. Whenever the weather permitted, the keeper would take the elephants into the large open-air enclosure for their walk and bath. Here, Bugatti produced his second sculpture of the male elephant: Éléphant d’Asie en marche (R.M. n ^o 233). This piece is remarkable for the rhythmical movement captured in its volume, its graceful and harmonious proportions, and the eurhythmy of its lines.

These two Asian elephant sculptures were reproduced in bronze by Albino Palazzolo, each in an edition of five casts and each with a specific colour of patina chosen by Hébrard. The Antwerp Zoological Gardens and the Museum of Rome acquired casts (1) and (2) of Éléphant d’Asie “mendiant”, Jean Coquelin purchased cast (3) of both Éléphant d’Asie “il y arrivera” and Éléphant d’Asie “mendiant”, and Philippe de Rothschild and Ferruccio Stephani of Milan purchased casts (4) and (5) of Éléphant d’Asie “mendiant”. Maurice Keller, Mr. Maire of Épinal and Mrs. Osterieth acquired casts (2), (5) and (1) respectively of Éléphant d’Asie “il y arrivera”.

La collection Alain Delon

bugatti.conservatoire@orange.fr (veronique fromanger) — Fri, 19 Aug 2022 16:44:06 GMT

De 1979 à 2024, la collection Alain Delon.

Que peut-on dire d'un homme comme lui?

Dans le monde entier Alain Delon est une icône, déjà une légende, une image étincelante, charnelle, sauvage.Mais, derrière les mots et les images, il n'y a plus qu'un artiste solitaire dont la sensibilité à fleur de peau est extrême.

Collectionner les oeuvres d'art fut toujours pour lui un mode d'expression vital.Sa rencontre avec Rembrandt Bugatti était inévitable.

From 1979 to 2024, the Alain Delon collection.

What can we say about this man?

Worldwide Alain Delon is an icon, already a legend, a sparkling, carnal, wild image.

But behind the words and the images there is only one solitary man, an artist whose sensitivity is extreme. Collecting works of art is for him a vital mode of expression.

His meeting with Rembrandt Bugatti was inevitable.

(Photo copyright et descriptif du Répertoire,

Véronique Fromanger) =

Alain Delon et "Lion couché au repos " en marbre de Carrare, par Rembrandt Bugatt i (acquis aux enchères publiques chez maitres Loudmer et Poulain, en 1979, numéro 342 du catalogue, vente de la succession Ettore et Roland Bugatti; exposé en 1988 à Paris, Galerie Bailly, "Les Bugatti d'Alain Delon ", numéro 3 du catalogue, édité par les éditions de l'amateur dirigées par Nuria Boussac; racheté lors de la vente publique à Londres chez Sotheby's en 1990 : " 39 Sculptures by Rembrandt Bugatti The Property of Alain Delon "numéro 264 du catalogue; aujourd'hui, en 2023: collection Alain Delon)

Tout commence en 1979 et 1981:

Maitres Loudmer et Poulain, à Paris, vendent aux enchères publiques les successions de Roland Bugatti (1922-1977) et Ebé Bugatti (1903-1980), les neveu et nièce de Rembrandt Bugatti.

Ces deux ventes seront l’occasion d’amplifier ou d’affirmer pour certains collectionneurs et marchands d’art leur volonté de réunir des sculptures de Rembrandt Bugatti.

Les collections « Rembrandt et Carlo Bugatti » d’Alain Lesieutre firent ainsi l’objet de plusieurs expositions et en 1983, « Die Bugattis » au Museum für Kunst und Gewerbe de Hambourg fut la première exposition d’envergure consacrée à la famille Bugatti.

En 1988 Alain Delon expose sa collection Rembrandt Bugatti, à Paris, à la Galerie Bailly.Un catalogue fut édité à cette occasion, en le feuilletant on se rend compte aujourd'hui à quel point cette collection fut exceptionnelle à plus d'un titre.

Mais l'acquisition aux enchères d'un tableau, connu mondialement, oblige Alain Delon à vendre une partie de sa collection Rembrandt Bugatti.

En mai 2010, chez Sotheby’s , à New York, le département « Impressionnist and Modern Art » proposa aux enchères publiques une collection de bronzes de Bugatti , la collection Schurr.

Cet événement remit en mémoire la vente de la collection Alain Delon, vingt ans plus tôt, en 1990, à Londres.

Quelques initiés savaient qu’Alain Delon avait racheté des Bugatti lors de cette vente, ceux dont il ne pouvait se séparer à aucun prix .

Depuis, une nouvelle collection a vu le jour, tout aussi exceptionnelle :

Lion couché dévorant, Braque couché, Vautours l’un contre l’autre, Panthère grognant, Lionne bâillant, É léphant et gazelles, face à face, Lionceau et lévrier, en plâtre, Jaguar accroupi, Les Yacks au repos, entre autres.

En mars 2010, Alain Delon déclarait dans un entretien : « Comme pour Géricault, il y a dans mon attrait pour Bugatti, solitaire au destin tragique, une certaine analogie avec ce que j’ai fait et d’où je suis parti […]. Ce que j’ai vraiment gardé, ce sont mes dessins de Géricault, Delacroix, Corot, Millet, mes bronzes de Bugatti ».

En 2014, pour marquer cet événement d’envergure, Alain Delon accepta de participer à la toute première exposition-rétrospective "Rembrandt Bugatti " , conçue et organisée par la Nationalgalerie, Staatliche Museen zu Berlin avec Udo Kittelman, Anke Daemgen et Philipp Demandt.

Grâce à l’ensemble des musées internationaux, et des collectionneurs privés à travers le monde, la Nationalgalerie de Berlin a présenté la première grande exposition muséale au monde, une collection unique de sculptures en bronze par Rembrandt Bugatti.

En 2016, la parution de la nouvelle édition du Répertoire monographique Rembrandt Bugatti sculpteur, une trajectoire foudroyante , inaugure la célébration du centenaire de Rembrandt Bugatti (Milan 1884-Paris 1916).

Pour commémorer le Centenaire Bugatti La maison de vente aux enchères Christie's organisa une vente à laquelle va participer Alain Delon:

«Quand j'ai pris connaissance de cette vente anniversaire chez Christie's, j'ai voulu participer avec une sélection de ma collection de R. Bugatti, pour accompagner Rembrandt, comme je l'ai toujours fait, depuis près de 50 ans maintenant. Pour qu'il reste présent et vivant, parce qu'il est plus vivant que jamais».

En 2023 la collection Bugatti d'Alain Delon existe toujours, elle est aujourd'hui consacrée aux fauves, lions, panthère, vautours, mais la Panthère grognant, le Lion couché dévorant et la Lionne baillant vont bientôt se retrouver sous le feu des enchères:

Bugatti a modelé cette panthère sur le vif dans son atelier de plein air, d’un seul jet, sans croquis préparatoire ni photographie, sans retouche. Dans toute sa richesse sensorielle il a su créer une œuvre puissante, intemporelle, authentique.Tout son corps de félin souple et agile prend appui sur les muscles de ses pattes et ce jusqu’au bout de sa longue queue. La panthère grogne et feule et ses moustaches ou vibrisses se hérissent pour signifier son message sonore de défiance ou de dominance, figurée en bronze par le fondeur Hébrard dans un réalisme poussé jusqu’au bout, et couvert par une patine polychrome exceptionnelle. Hébrard, qui est aussi ingénieur chimiste spécialiste des patines remarquables, sera le premier collectionneur de Rembrandt Bugatti, tout en étant son éditeur exclusif. Pour faire connaître son œuvre, Hébrard va révolutionner le monde du bronze d’art grâce à la technique de la fonte à cire perdue.

Le jeune Bugatti connaît bien tous les grands félins. Déjà en 1903, à 19 ans, ses premières sculptures au Jardin des Plantes, à Paris, furent les portraits d’une famille de lions. Pendant quinze ans Bugatti va vivre avec eux pour les observer longuement, un à un, pour étudier et déchiffrer leurs comportements, leurs signaux, leurs sonorités, leurs attitudes, leurs postures chacun dans son monde sensoriel. Sa sculpture procède entièrement de ce contact journalier, de cet échange, de ce dialogue, de ce partage, de cette communion, de cette fusion avec les animaux sauvages. La Lionne couchée bâillant en est l’expression la plus parfaite.

Je me souviens encore de ce rendez-vous à Versailles, en 1988, pour l’achat d’un bronze. En entrant dans le salon nous sommes littéralement tombés en arrêt devant le Lion couché dévorant , la force brute affleurait sur toute sa surface comme s’il était vivant.

Alain Delon en eut le souffle coupé, en un instant, sur-le-champ, il en devint acquéreur sans même en discuter le prix.

Jeudi 13 avril 2023, Véronique Fromanger

Alain Delon a décidé d'ouvrir son jardin secret qu'est sa collection et qu'il cultive depuis plus de soixante ans: « Au fil des années, j'ai acquis des dessins, des tableaux et des sculptures qui ont su m'émouvoir, me parler et même parfois me consoler. Ces œuvres m'ont accompagné pendant de nombreuses années et ont fait partie de ma vie. »

En cette année 2023, à l'âge de 87 ans, Alain Delon dévoile ces chefs-d'œuvre au monde entier à travers une exposition itinérante aux Etats-Unis, en Asie et en Europe organisée par Bonhams Cornette de Saint Cyr en mai et juin 2023.

(Photo copyright and description for the Repertoire ,

Véronique Fromanger)

Alain Delon and " Lion couché au repos" in Carrara marble

by Rembrandt Bugatti.

(acquired at public auction from masters Loudmer and Poulain, in 1979, catalog number 342, sale of the Ettore and Roland Bugatti estate; exhibited in 1988 in Paris, Galerie Bailly, " Les Bugatti d'Alain Delon" catalog number 3, published by editions de l'amateur directed by Nuria Boussac; bought at the public sale in London at Sotheby's:

" 39 Sculptures by Rembrandt Bugatti The Property of Alain Delon" catalog number 264; today, in 2022: Alain Delon collection)

It all starts in 1979 and 1981:

My Loudmer and Poulain sell at public auction the estates of Roland Bugatti (1922-1977) and Ebé Bugatti (1903-1980), the nephew and niece of Rembrandt Bugatti.

These two sales will be an opportunity to amplify or affirm for certain collectors and art dealers their desire to collect sculptures by Rembrandt Bugatti.Alain Lesieutre's "Rembrandt and Carlo Bugatti" collections were the subject of several exhibitions and in 1983, "Die Bugattis" at the Museum für Kunst und Gewerbe in Hamburg was the first major exhibition devoted to the Bugatti family.

In 1988, Alain Delon exhibited his Rembrandt Bugatti collection in Paris at the Galerie Bailly. A catalog was published on this occasion, by leafing through it we realize today how exceptional this collection was.

But the acquisition at auction of a world-famous painting forced Alain Delon to sell part of this collection.

In May 2010, at Sotheby's, in New York, the "Impressionist and Modern Art" department offered a collection of Bugatti bronzes, the Schurr collection, at public auction.This event recalls the sale of the Alain Delon collection, twenty years earlier, in 1990, in London.

Some insiders knew that Alain Delon had bought Bugatti during this sale, those he could not part with at any price.

Since then, a new collection has emerged, just as exceptional:

Lion lying devouring, Braque lying, Vultures against each other, Growling panther, Yawning lioness, Elephant and gazelles, face to face, Lion cub and greyhound, in plaster, Crouching Jaguar, Resting yaks, among others.

In March 2010, Alain Delon declared in an interview:

“As for Géricault, there is in my attraction for Bugatti, solitary with a tragic destiny, a certain analogy with what I did and where I started […]. What I really kept are my drawings by Géricault, Delacroix, Corot, Millet, my Bugatti bronzes”.

In 2014, to mark this major event, Alain Delon agreed to participate in the very first retrospective exhibition "Rembrandt Bugatti", conceived and organized by the Nationalgalerie, Staatliche Museen zu Berlin with Udo Kittelman, Anke Daemgen and Philipp Demandt.

Thanks to all the international museums and private collectors around the world, the Nationalgalerie in Berlin presented the first largest museum exhibition in the world, a unique collection of bronze sculptures by Rembrandt Bugatti.

In 2016, the publication of the new edition of the Répertoire monographique Rembrandt Bugatti sculpteur, a meteoric rise , inaugurates the celebration of the centenary of Rembrandt Bugatti (Milan 1884-Paris 1916).

To commemorate the Bugatti Centenary The Christie's auction house organized a sale in which Alain Delon will participate: “When I found out about this anniversary sale at Christie's, I wanted to participate with a selection from my R. Bugatti collection, to accompany Rembrandt, as I have always done, for almost 50 years now. To keep it present and alive, because it's more alive than ever.".

In 2023 the Bugatti collection by Alain Delon still exists,

it is today dedicated to big cats, lions, panthers, vultures but la Panthère grognant et feulant, le Lion dévorant et la Lionne baillant will soon find itself in the public eye : Alain Delon decided to open this secret garden which is his collection and which he has been cultivating for more than sixty years. He adds: “Over the years, I have acquired drawings, paintings and sculptures that have moved me, spoken to me and sometimes even consoled me. These works have accompanied me for many years and have been part of my life. »

Today, Alain Delon unveils these masterpieces to the world through a traveling exhibition in the United States, Asia and Europe organized by Bonhams Cornette de Saint Cyr in May and June 2023.

Ritorno dal pascolo 1901

bugatti.conservatoire@orange.fr (veronique fromanger) — Wed, 19 Aug 2020 14:50:16 GMT

Ritorno dal pascolo is one of Rembrandt Bugatti’s first sculptures, completed during a stay in the mountains with his uncle, Segantini. Rembrandt and his cousins were the same age and regularly visited the Engadine, Savognino, Sils Maria and Maloja. It was here, in these breath-taking valleys, that Segantini and Bice had chosen to make their home. The region was also a meeting place for intellectuals such as Friedrich Nietzsche, Rainer Maria Rilke, Sigmund Freud, and the painters Gustav Klimt and Giovanni Giacometti.

Ritorno dal pascolo portrays a group of cows being herded by a young paysan. The sculpture is a dynamic work of simultaneous analysis and synthesis. The volume is modelled freehand and the details are simply sketched, allowing light to be captured and fragmenting the surface into a multitude of interlinking planes, which trace the play of the bones and muscles beneath. The hoofs are pressed into the base with broad thumb strokes and the spaces left between the feet define the rhythm of the cow’s gait.

Slow and sure footed, the four mountain cows amble along in single file. In the winter, they live in the cattle shed but from June until September are free to roam the mountain pastures. This space belongs to them alone. Small and muscular, they possess the swollen stomachs of yearlings. On the path home, each is occupied in its own way. One grazes as it walks, another strains its neck forward to nuzzle a third, who turns its head to gaze behind as it sniffs the air, its wide muzzle flared and sensitive to the smells around it, and a fourth lows, its head high and turned towards the watching paysan. Together they form a small herd, returning after a day in the meadows, their heavy udders inviting to be milked. The observer can almost smell and hear the small procession, the young cowherd, staff in hand, and the cows who follow him.

During the same period, the most famous French sculptor of all, Auguste Rodin (1840–1917), would write in 1901: “Retain the models’ own, natural movements [...] the only interesting, lively and useful movement for the artist is that accomplished by the model when subject to Nature’s laws alone.”12

Rembrandt’s cow sculptures were cast in bronze by the Galleria Alberto Grubicy. They were cast individually, in groups of two and three, and as the original group of four cows and the paysan entitled Ritorno dal pascolo. All of them are signed and dated 1901, though none bear a foundry mark. The group Ritorno dal pascolo was exhibited in 1902 at the First International Exhibition of Modern Decorative Arts in Turin.

Ritorno dal pascol o , modelé lors d’un séjour en montagne au côté de l’oncle Segantini, est l’une des premières sculptures de Bugatti. Rembrandt et ses cousins du même âge partent souvent tous ensemble dans les montagnes de l’Engadine, de Savognino à Sils-Maria et Maloja. Ces vallées de toute beauté, Segantini et Bice les avaient déjà choisies pour y vivre. Elles furent un lieu de rendez-vous pour Friedrich Nietzsche, Rainer Maria Rilke, Sigmund Freud et les peintres Gustav Klimt et Giovanni Giacometti.
Ritorno dal pascolo représente un groupe de vaches guidées par un jeune paysan. Tout à la fois analytique, synthétique et dynamique, le volume est modelé à main libre, les détails sont simplement ébauchés pour accrocher la lumière et fragmenter la surface en une multitude de plans qui s’interpénètrent et donnent l’impression du jeu sous-jacent des os et des muscles. Les sabots enfoncés dans la terrasse, à larges coups de pouce, et les vides entre les pattes donnent le rythme de la marche.
Ces quatre vaches de montagne vont en file indienne, au pas, dans la même direction, le pied sûr. Elles vivent à l’étable l’hiver et, de juin à septembre, occupent les alpages, en liberté. L’espace leur appartient. Petites et musclées, elles ont le ventre gonflé du veau de l’année. Sur le chemin du retour, chacune est occupée à sa façon : l’une broute au passage, tout en marchant, l’autre le cou tendu en avant tente de toucher la troisième qui tourne la tête pour voir en arrière et humer l’air, la largeur de la muqueuse du mufle traduit l’importance de l’odorat, et la quatrième meugle, la tête haute, vers le jeune paysan qui la regarde. Toutes ensemble elles forment un petit troupeau sur le chemin du retour après une journée au pré, les mamelles pleines appellent la traite. À regarder ce jeune paysan qui tient son bâton en main et ces vaches en mouvement qui le suivent, on pourrait presque les entendre et les sentir.
À la même époque, en 1901, Auguste Rodin (1840-1917), le sculpteur français le plus célèbre, écrivait : « laisser au modèle ses mouvements propres, naturels […], le seul mouvement intéressant, vivant, utile pour l’artiste est le mouvement que le modèle accomplit, lorsque seule la nature lui impose ses lois12 ».
La galerie Alberto Grubicy va éditer en bronze tous ces modèles de vaches, individuellement ou bien en groupes de deux ou trois, et en groupe de quatre vaches avec le jeune paysan, Ritorno dal pascolo. Chacun de ces bronzes est signé et daté (1901), mais aucun ne porte de marque de fondeur. Le bronze Ritorno dal pascolo fut exposé en 1902 à la Première Quadriennale de Turin.

Rembrandt Bugatti possède une acuité d’observation hors du commun, un sens inné de l’empathie allié à une sensibilité exacerbée, une faculté intuitive de se mettre à la place de l’autre, de percevoir ce qu’il ressent, mais aussi une capacité de recul intellectuel qui vise la compréhension des états émotionnels des autres, de tous les êtres vivants.
Dès le début, Bugatti va fixer les bases de toute son œuvre : un engagement existentiel total à la recherche d’un idéal de perfection, un dialogue intense et sincère entre lui et son modèle, un face à face permanent. Bugatti choisit, non pas la technique de la taille directe comme son grand-père, mais le modelage à main libre sans repère ni mesure, sans esquisse préparatoire, comme un acrobate sans filet (la voie la plus spontanée, la plus primitive et la plus forte pour traduire la nature, le vivant, en trois dimensions), et la vitesse dans l’exécution pour transcrire son génie dans la matière.
Son engagement est totalement marginal. Pendant ses quinze années de création ininterrompue, exécutée dans l’ivresse, au pas de course, dans la plus grande solitude, jusqu’à l’épuisement, jusqu’à son suicide à l’âge de 32 ans, Bugatti va créer une œuvre puissante et dynamique, universelle et intemporelle, authentique, telle que définie par Walter Benjamin : « ce qui fait l’authenticité d’une chose est tout ce qu’elle contient de transmissible de par son origine, de sa durée matérielle à son pouvoir de témoignage historique13 ».
En ce début du XXe siècle en pleine révolution industrielle, alors que son propre frère construit sa première voiture, Bugatti va relever un autre défi, le plus audacieux, le plus insolent qu’un artiste puisse lancer à l’académisme et à l’avant-garde : s’écarter de la figure humaine pour dialoguer avec le monde des animaux.

Ritorno dal pascolo, Milan 1901

Berlin 2014, rétrospective Rembrandt Bugatti par Philipp Demandt

bugatti.conservatoire@orange.fr (veronique fromanger) — Wed, 19 Aug 2020 14:33:36 GMT

Rembrandt Bugatti , Berlin 2014,Rétrospective
I precisely remember my first encounter with Rembrandt Bugatti. It was at the art exhibition in Maastricht where I suddenly landed in front of the bronze sculpture of a baboon that utterly took my breath away. I had never seen anything like it. What forms, what conception, what energy, yes, nearly aggressiveness, one could say! The shape was uncompromisingly rhythmic and geometric, its raw energy surged, so to speak, up to the surface: a lurking primate made out of cubes of completely sharp-edged floes, which appeared less like fur than like the network of naked muscles. A figure without any temporality. Was I in the 19th Century? Or in the 20th? Or in the 21st?
Of course, I knew the name of the sculptor which was written on the identification plate on that work displayed in Maastricht; I had seen pictures, of course, in the one or other monographic repertoires of his works. But never before did I have one of his works stumble directly upon me.
Today, I know that I was in luck to come across Rembrandt Bugatti in one of his major works, the hamadryas baboon, one of the most incredible sculptures that exists. For me, it was love at first sight.
Not too many years later – in the meantime, I had gone from the official advisor of the German Kulturstiftung der Länder (German Cultural Foundation of the Federal States) to the director of the Alte Nationalgalerie (Old National Gallery) in Berlin – this love should find its utmost fulfilment, when, as to the question of the subject of my first own exhibition, there could only be one possible answer: Rembrandt Bugatti.
On the evening of 27th March 2014, we opened the first major solo exhibition of this artist at a museum, worldwide , who sank into oblivion after his early death, and, in spite of an international collector community, had nearly been completely ignored by museums. And, this Spring evening on the Museum Island in Berlin was, without a doubt, one of the happiest and one of the most fulfilling days in my professional life.
Delicate, dark stands with over 80 of Bugatti’s bronze sculptures spread through all of the halls of the Alte Nationalgalerie and appeared in such a way before the magnificent paintings on the walls – from Menzel and Manet, Liebermann and Böcklin, Courbet and Corot, Renoir and Segantini, Rembrandt’s Uncle, whose painting Berlin owns the magnum opus - returning home.
The sculptor Bugatti stood comparison to all of these great artists, for he was a man, who came from the 19th Century, advanced far into the 20th Century and finally created an oeuvre that left behind historic categories. T hus, many of his sculptures appear to us today as if they were created some 20, 30 or 40 years later – a comparison with Giacometti or Marini comes to mind. And yet, there still is the immediate curiosity of the Belle Époque, which was still unbowed up to the inferno of the Great War, after which human kind was no longer the same.
And, when looking and listening carefully, it became forthwith obvious that Bugatti’s works more than merely bore comparison with the major works surrounding his in the Alte Nationalgalerie. Rather, the language of his animals suddenly elicited, from the works of the greatest masters, answers, facets, tones, which until then had been unheard.
Didn’t one hear, when observing face to face such delicate, nearly staggering panthers, the verses of Rilke’s famous poem „The Panther“, which had only come into being shortly before then at the same zoo in which Rembrandt, as well, found his models? „His gaze going past those bars / has got so misted with tiredness, it can take in nothing more. / He feels as though a thousand bars existed, / and no more world beyond them than before. “
Didn’t one believe to smell the wet earth, out of which Bugatti‘s stupendous, early cows in the Barbizon Hall of the Alte Nationalgalerie practically rose, and didn’t one become aware of this aroma from the damp forests, meadows and gardens on the paintings of Daubigny, Rousseau and Diaz de la Pena, as well?
And didn’t Manet’s magnificent in the conservatory suddenly seem that much more heated up and nebulous in the presence of Bugatti‘s potent hamadryas baboon in the hall? Didn’t the unrelated, buttoned-up human couple in that oppulent greenhouse appear that much more unsettling in the face of the two jackals, which were affectionately sniffing each other? Wasn’t it a coincidence that this painting had caused a scandal, when, in 1896, it was acquired as the first Manet, worldwide, by a museum, Berlin’s Alte Nationalgalerie? And, weren’t the portraits by Anton Graff that were concentrated and celebrating pure humanity suddenly an obvious frame for Bugatti‘s no less familiar portrait of the French bulldog?
Didn’t the yawning hippopotamus, which zoologists think is rather threatening, shout, as it were, a most earthly commentary across towards Böcklin’s all too meaningful isle of the dead? And, finally, didn’t the existential paintings by Max Beckmann and Lovis Corinth on the eve of World War I seem that much more relentless in view of the exciting devouring lion by Rembrandt Bugatti?

The finale to the exhibition culminated in the famous Caspar David Friedrich Hall of the Alte Nationalgalerie, quasi the heart of the German psyche, where the paintings of the great Romanticist and Bugatti’s last creations, before his suicide, formed a symbiotic relationship, which one, upon first consideration, would have thought to be, of course, less probable, for animals did not play a role in Friedrich‘s pantheistic landscapes – with one exception: the birds – the angels of heaven and death, so to speak, the intermediaries between the worlds and spheres. Thus, Bugatti’s fateful, volumetric two vultures seemed to have escaped from Friedrich‘s giant mountains, as the only creatures, who were granted to associate between the earthly and the godly – that realm, which remains inaccessible for the human imagination, according to Friedrich’s firm conviction.
And, in front of the wall in that hall, which otherwise displays the world-famous pair of paintings – the monk by the sea and the abbey in the oakwood, Bugatti’s Christ on the cross and his five old horses constituted the last image of the exhibition. Never, in the year of the commemoration of the hundredth anniversary of the beginning of World War I, did I witness human beings standing more still and, simultaneously, more moved in front of a sculpture than before Bugatti‘s five old horses; without any doubt, one of the most impressive – and still, being entirely unmelodramatic – creations in the history of art. A visitor wrote me a letter in which she told me that tears had come into her eyes. I thought – that’s not a coincidence. Because, in the end, it wasn’t the grandiose name, the unbelievable talent or the famous family, neither the tragic story nor the Noah’s Ark of his animals, but rather the deeply perceived humanity of Rembrandt Bugatti‘s art, which connected him to Caspar David Friedrich’s incomparable landscapes and which was and still is able to touch the people at their very core.
A hundred years ago, where war and dissolution were looming on the horizon, human beings appeared barbarian to Bugatti; and animals, civilised. Rembrandt felt amongst humans like being in the „wilderness amongst savages“ towards the end of his life. „The work at the zoo, where I spend my days, is my only consolation”. His life was a meteorite of art history, curiously diffuse, without any tail and impact, which passed by and was soon forgotten. So, how does the world look 100 years later? Here, I make no reply. Just one thing: Rembrandt Bugatti’s art is as contemporary as ever.
The present monographic repertoire shows us the opulence of shapes, areas and perspectives of Rembrandt Bugatti’s art, conceived with a kind of certainty and freedom that even the greatest challenges, in view of his mooching-around models, mastered without an effort: a photographic memory, a quasi one-to-one transfer from eye to hand; not an animal sculptor, rather a born sculptor per se; an absolute talent in sculpture, a man, whom every vehicle seemed to be fitting, in order to capture life in all of its forms and feelings; a portraitist of humans and animals, for whom the fauna from every continent, in the end, opened a world of patterns and structures, rhythms and means of behaviour, which, in order to tap the fullest potential, would have brought other talent to their limits.
And, the monographic repertoire shows us even more: a young man – an obvious lone wolf and still a family-oriented man, a man with humour and fickleness having the greatest self-confidence and the most abysmal doubts. Even in terms of how to place him nationally – highly elusive, half of the continent – how modern! – all in one single gestalt: a tall, young Italian in conspicuous clothes, whom one, for this reason, would surely call „Americano“, who speaks the language of France and lives in Flanders, while his brother builds cars in Alsace. The dachshund that accompanies him is a German? After all, he has the German name »Wurst« (sausage).
Keeping the memory alive and the magnificent rediscovery of Rembrandt Bugatti for a wide audience is, as it was often the case in the past, first the work of individuals; people who fight for their convictions over years and decades beyond all fashions, who restlessly and laboriously save works, sources and documents, trace descendants, record traditions and exhibit art. Véronique Fromanger and the people close to her have done all of this.
A monographic repertoire is the highest acclaim of a life’s work – and, within itself, the same thing: a mission of titanic proportion . Rembrandt Bugatti – and all of us – owe much to the author of the book at hand. „I hope and believe that I will succeed in creating a life’s work that no contemporary or previous animal sculptor had ever created“, wrote Bugatti. The monographic repertoire at hand proves that his hope came true. The serious and profound manner in which Rembrandt captured the wealth of the world in his sculptures make him one of the most unique artists in the history of sculpture.

Berlin, October 2014

Philipp Demandt
Director of the Alte Nationalgalerie en 2014
Staatliche Museen zu Berlin

et depuis 2016 directeur des musées de Francfort , en Allemagne

English translation by Damian Kridlo

Berlin 2014 exposition rétrospective Alte Nationalgalerie

Musée d'Orsay, Paris.Donation Desbordes 1981 et Bugatti 1975

bugatti.conservatoire@orange.fr (veronique fromanger) — Wed, 19 Aug 2020 13:54:44 GMT

Musée d'Orsay, Paris:
une collection unique de plâtres et bronze par Rembrandt Bugatti.
Donation J.M.Desbordes et E.Bugatti.
En 1980, Jean-Marie Desbordes a hérité des collections de sa marraine Ebé Bugatti.
Iris et Jean-Marie Desbordes, tous deux professeurs, ont voué leur vie à l'éducation des enfants.
Grâce à leur extrème générosité Rembrandt Bugatti est entré dans les collections publiques françaises. Leur donation, unique au monde, n'aurait pu se faire sans l'aide précieuse et incontournable d'Anne Pingeot, conservatrice au département des sculptures du musée d'Orsay.

Cette collection de plâtres ayant séjournée de nombreuses années dans une cave humide fut restaurée et restituée puis certains modèles furent déposés dans les musées d'art moderne ou dans les musées d'art animalier. Le musée d'Orsay a conservé une trentaine de plâtres.

In 1981, the entire studio collection came into the possession of the Réunion des musées nationaux or RMN (the public institution in charge of France’s thirty-four national museums), thanks to the generosity of her only heir and godson Jean-Marie Desbordes. This collection was assigned to the Musée d’Orsay in Paris from 1981–1986, as those then in charge of the Musée national d’Art moderne did not wish to exhibit small-scale sculptures.

Conserved for years by Ebé Bugatti in the damp cellar of a pavilion situated in the park surrounding her residence, the Château de Vallière in Mortefontaine, this truly unique collection of eighty plasters was subject to extensive restoration and reconstruction before being given to various museums of modern art throughout France.

- Paysan et sa vache (c.1902)
- Cheval (c.1903)
- Lionne jouant avec une boule (c.1903)
- Groupe de quatre cigognes (c.1903)pièce unique
- Taureau Zébu (c.1904)
- Eléphant d’Afrique et trois gazelles (c.1904)
- Deux Biches (c.1904) fragments du Groupe
- Eléphant d’Afrique et deux Biches
- Jeune cerf et sa biche (c.1904)
- Deux biches caressant un faon (c.1904)
- Biche passant (c.1904)
- Biche allaitant deux faons (c.1904)
- Groupe de Cerfs Blancs (c.1904) fragments
- Braque debout (c.1904)
- Basset »mon chien Wurst » (c.1905)
- Combat de coqs sauvages (c.1905)
- Deux chameaux (c.1905)
- Deux flamants roses ( c.1905)pièce unique
- Deux vautours (c.1905)pièce unique
- Panthère marchant (c.1905)
- Deux panthères se suivant (c.1905)
- Grand cerf bramant (c.1905)
- Biche (c.1906)
- Deux biches l’une derrière l’autre (c.1906)
- Deux pélicans (c.1906)
- Pélican en parade ouvrant le bec (c.1906) pièce unique
- Cerf chinois (c.1906)pièce unique
- Deux biches dont l’une couchée (c.1906)
- Athlète nu debout (c.1906)
- Femme nue assise se coiffant (c.1906)
- « Femme au chat »
ou Femme nue soulevant un chat (c.1906)
- Femme nue debout, un bras tendu (c.1906)
- Femme nue debout,les mains sur la nuque (c.1906)
- « Dejanice » Femme nue assise et son chien (c.1907)
- Femme assise (c.1907)
- Buste de Barbara Bugatti (c.1907)
- Marabout au repos (c.1907)
- Cigogne,une aile déployée (c.1907)pièce unique
- Serpent python (c.1907)
- Antilope Gorgon ou gnou au repos (c.1907)
- Deux girafes (c.1907)pièce unique
- Eléphant d’Asie, il barrit (c.1907)
- Rhinocéros de Java (c.1908)
- Groupe de deux Yacks (c.1908)
- Lion dévorant (c.1908)
- Madame Crozier en buste (c.1908/1909)
- Casoar au repos (c.1909/1910)
- Lion de Nubie (c.1909/1910)
- Mademoiselle Decori (c.1912)
- Lévrier russe (c.1913/1914)
- Grand Elan (c.1913/1914)
- Zèbre et Lama couché (c.1913/1914)
- Ours brun (c.1913/1914)

( Musée animalier A.G.Poulain de Vernon.
En dépôt depuis 1984:
- Deux Jaguars « père et fils » ( c.1907)
- Kangourou (c.1907)
- Cigogne en marche (c.1907)
- Groupe de jeunes cerfs chinois (c.1904)
- Deux Panthères se léchant (c.1906)

Thin 1980, Jean-Marie Desbordes inherited the collections of his godmother, Ébé Bugatti. Iris and Jean-Marie Desbordes, both teachers, had devoted their lives to the education of children.

Thanks to their extreme generosity, Rembrandt Bugatti's works were given to the Réunion des musées nationaux or RMN (the public institution in charge of France's thirty-four national museums). Their donation, the only one of its kind in the world, would not have been possible without Anne Pingeot, curator of the department of sculpture at the Musée d'Orsay, whose help was invaluable.

As the collection had been kept for years in a damp cellar, the plasters were subject to extensive restoration and reconstruction. Some were then given to modern art museums or those with collections of animalier art. The Musée d'Orsay retained approximately thirty plasters.

Rembrandt Bugatti-Répertoire monographique-Plan du livre/SYNOPSIS

bugatti.conservatoire@orange.fr (veronique fromanger) — Sun, 24 May 2020 13:14:53 GMT

Répertoire monographique
V.Fromanger 2016
The present monographic repertoire shows us the opulence of shapes, areas and perspectives of Rembrandt Bugatti’s art, conceived with a kind of certainty and freedom that even the greatest challenges, in view of his mooching-around models, mastered without an effort: a photographic memory, a quasi one-to-one transfer from eye to hand; not an animal sculptor, rather a born sculptor per se; an absolute talent in sculpture, a man, whom every vehicle seemed to be fitting, in order to capture life in all of its forms and feelings; a portraitist of humans and animals, for whom the fauna from every continent, in the end, opened a world of patterns and structures, rhythms and means of behaviour, which, in order to tap the fullest potential, would have brought other talent to their limits.

And, the monographic repertoire shows us even more: a young man – an obvious lone wolf and still a family-oriented man, a man with humour and fickleness having the greatest self-confidence and the most abysmal doubts. Even in terms of how to place him nationally – highly elusive, half of the continent – how modern! – all in one single gestalt: a tall, young Italian in conspicuous clothes, whom one, for this reason, would surely call „Americano“, who speaks the language of France and lives in Flanders, while his brother builds cars in Alsace. The dachshund that accompanies him is a German? After all, he has the German name »Wurst« (sausage).

Keeping the memory alive and the magnificent rediscovery of Rembrandt Bugatti for a wide audience is, as it was often the case in the past, first the work of individuals; people who fight for their convictions over years and decades beyond all fashions, who restlessly and laboriously save works, sources and documents, trace descendants, record traditions and exhibit art. Véronique Fromanger and the people close to her have done all of this.

A monographic repertoire is the highest acclaim of a life’s work – and, within itself, the same thing: a mission of titanic proportion . Rembrandt Bugatti – and all of us – owe much to the author of the book at hand. „I hope and believe that I will succeed in creating a life’s work that no contemporary or previous animal sculptor had ever created“, wrote Bugatti. The monographic repertoire at hand proves that his hope came true. The serious and profound manner in which Rembrandt captured the wealth of the world in his sculptures make him one of the most unique artists in the history of sculpture.

Texte de Philipp Demandt, Berlin 2014

SYNOPSIS:
I. Qui sont les "pères" de Rembrandt Bugatti ?
- Giovanni Segantini - Carlo Bugatti - Paolo Troubetzkoy - Giuseppe Grandi et Medardo Rosso - La Galerie Grubicy et Bice Bugatti -
Who were Rembrandt Bugatti’s "fathers"?
- Giovanni Segantini - Carlo Bugatti - Paolo Troubetzkoy - Giuseppe Grandi and Medardo Rosso - The Grubicy gallery and Bice Bugatti-Segantini - All’amico Borgatti

II. 1884-1902: Milan et l'époque pré-futuriste
- Milan - " Ritorno dal pascolo " - Bugatti et la photographie - Bugatti créateur de l'instant à multiples dimensions - Albino Palazzolo - Ettore Bugatti
1884-1902: Milan and the pre-Futurist period .
- Milan - Ritorno dal Pascolo - Bugatti and photography - Bugatti : creator of the single moment in multiple dimensions - Albino Palazzolo - Ettore Bugatti

III. Paris et le Jardin des Plantes
- Carlo et Rembrandt Bugatti s'installent à Paris - La Ménagerie nationale du Jardin des Plantes et le Museum d'Histoire naturelle - La renaissance des sciences naturelles - Bugatti et les animaux sauvages - Les panthères, ses compagnons d'existence
Paris and the Jardin des Plantes
- Carlo and Rembrandt Bugatti settle in Paris - The Ménagerie nationale at the Jardin des Plantes and the Museum d'Histoire naturelle - The renaissance of the natural sciences - Bugatti and wild animals - Panthers, his companions in life and work

IV. Bugatti : un modeleur et un mouleur
- Bugatti : " J’espère et je crois réussir à faire une oeuvre unique au monde " authentique, universelle, intemporelle. - Le modelage à main libre et le moulage en plâtre - La gypsothèque Rembrandt Bugatti et le fonds d'atelier
   Bugatti, a modeller and mould-maker
- Bugatti: “ I hope and indeed believe I am successful in creating a body of work like no other animalier sculptor before or since...” - Marcel Horteloup and Diane's letters - Free hand modelling and plaster casting - The Rembrandt Bugatti gypsotheque and studio collection: Ebé Bugatti

V. Paris, chef de file du marché de l'art moderne
- Paris haut lieu de la création - L'ivresse du progrès et les marchands d'art - La sculpture : un art difficile à vendre, la ruine des marchands d'art
   Paris, a leading light in the modern art trade
- Paris, capital of the creative arts - Art dealers and the euphoria of progress - Sculpture, an art form difficult to sell and the ruin of the art dealers

VI. A.A. Hébrard et Cie (1902-c.1934)
- une alliance entre l'Art et l'Industrie - 1904 : La première exposition : " Rembrandt Bugatti " à la Galerie Hébrard rue Royale à Paris - Bugatti à 20 ans - Le contrat d'édition - René Dubois - La fonderie A.A. Hébrard : Albino Palazzolo et les ouvriers - Hébrard et Rodin - A.A.Hébrard ou la reproduction authentique d'une oeuvre d'art - L’Édition Originale A.A.Hébrard (1902-c.1934)
A.A. Hébrard & Cie (1902-c.1934)
- An alliance between art and industry - 1904: the first Rembrandt Bugatti exhibition at the Hébrard Gallery - Bugatti at twenty years old - Le contrat d'édition-the artist licensing agreement - René Dubois, Rembrandt Bugatti's adoptive father - The A.-A Hébrard foundry: Albino Palazzolo and the workers - Hébrard and Rodin - The A.-A.Hébrard foundry: Albino Palazzolo and the foundry workers - Hébrard and Rodin - A.A. Hébrard or the authentic reproduction of an oeuvre d'art

VII. 1903 à 1908 : de Paris à Anvers, tel un oiseau migrateur
- Bugatti à Paris, témoin de son temps. - Les chevaux de trait et le "Montreur d'ours" - Bugatti et les animaux familiers - Bugatti et les animaux sauvages des Jardins zoologiques - Bugatti au zoo d'Anvers, son atelier de plein air - Bugatti analyse le lien animal, la communication. - Les cervidés : une fougueuse spontanéïté, une vitalité absolue de la matière ou le dynamisme plastique. - Bugatti et Marcello Valsuani - Bugatti aime les oiseaux : les pélicans, les flamants, les cigognes. - Bugatti se compare aux marabouts - A Montparnasse et rue Duméril Bugatti explore le thème du nu - " La sculpture, c'est comme une femme " Kathleen Bruce , Dejanice Bugatti et Barbara Bugatti - Le " Colosse nu assis " ou l'ami White à l'exposition Grubicy - Bugatti, un éthologue plasticien. - " Mes Antilopes " - Les autres mammifères, de puissantes architectures vivantes. - Le commerce des animaux sauvages, les éléphants d'Asie et les jaguars.
   1903-1908 From Paris to Antwerp: a migratory bird on the wing
- Rembrandt Bugatti in Paris, a witness of his age - Draught horses and bear tamers: Le marché aux chevaux (R.M.n43) Dix minutes de repos (R.M.n139) and Montreur d'ours (R.M.n140) - Bugatti and domestic animals: cats and dogs - Bugatti and the wild animals of the zoological gardens Loup et Louve, l'un contre l'autre (R.M.n103) - Bugatti at the Antwerp Zoo, his open-air studio - Bugatti analyses the animal bond and communication - The Cervidae : a fiery spontaneity , the absolute vitality of matter or plastic dynamism: Cerf chinois et ses quatre biches (R.M.n153) - Bugatti and Valsuani: wild goats and mountain sheep - Bugatti and his passion for birds: pelicans, flamingos, storks and marabouts - Bugatti compares himself to a Marabou Stork - In Montparnasse and the rue Duméril, Bugatti explored the theme of the nude - “ Sculpture is like a woman.” Kathleen Bruce , Dejanice Bugatti and Barbara Bugatti - Paris, 1907: L'Ami White at the Alberto Grubicy exhibition - Rembrandt Bugatti: ethologist, plasticien and "a narrator of animal psychology" - 1908: Mes Antilopes (R.M.n216) - The other mammals : powerful living architecture - Hippopotame baîllant (R.M.n138) , Panthère grognant (R.M.n208)- The wild animal trade , elephants and jaguars - The Jaguars - The Elephants

VIII. 1909 à 1911 : Bugatti consacre tout son temps à préparer les grandes expositions.
- Installation de l'usine Ettore Bugatti à Molsheim en Alsace - Rembrandt Bugatti, désormais seul face à son destin. - Bugatti élargit son champ de vision, son regard se transforme. - 1910 : l’ exposition à Anvers et les pièces uniques. - Bugatti se passionne pour les grands mammifères ruminants. - Les animaux sauvages sont devenus ses amis de tous les jours. - Le Rhinocéros indien et le Bison d'Amérique : déjà en voie de disparition au début du XXè siècle. - En 1911 Hébrard présente une collection de 100 sculptures. - A Paris l'Avant-Garde européenne est en pleine effervescence. - Bugatti souffre de l'éloignement familial et de son manque d'argent. - Le "Colosse nu debout" ou " le surhomme " mis à nu
1909-1911 : Bugatti's time is entirely devoted to preparing for important exhibitions
- Ettore Bugatti 's factory is established in Molsheim , Alsace - Rembrandt Bugatti now faces his destiny alone - As Bugatti broadens his visual horizons, his sculptural vision is transformed: Grand Fourmilier (R.M.n237) - 1910: the Antwerp Exhibition and the pièce unique: Groupe de cinq vieux chevaux (R.M.n246) - Rembrandt Bugatti and his fascination for large ruminant mammals: Petit Buffle "anoa" (R.M.n261) - The wild animals become familiar friends - The Indian Rhinoceros (Rhinoceros unicornis) and the American Bison (Bison bison) : already endangered species by the turn of the twentieth century - Hébrard's 1911 exhibition of one hundred sculptures: the fruit of eight years of creativity - In Paris, the European avant-garde worked in a creative ferment - Isolated from his family and with dwindling funds, Bugatti suffers much hardship - Colosse, lutteur Olympique or the “übermensch” stripped bare

IX . 1912-1914 : L’esprit de novation interrompu par la Grande Guerre.
- La "Marchande de pommes" et le portrait mondain. - L’esprit de novation côtoie la Belle Epoque. - Bugatti expose chez Alberto Grubicy et les Futuristes chez Berhneim-Jeune. - Bugatti a su capter le language des animaux, il a croisé leurs regards pendant quinze ans. - Bugatti retrouve les grands rapaces au zoo d'Anvers. - Pour saisir l'animal Bugatti a une vision synthétique tout à la fois précise et complexe. - Les Condors vus par Claude Koening et Rungwe Kingdon-Pangolin Editions - Les tirages en bronze réservés à Ettore Bugatti - Fin 1913 : Bugatti écrit à un ami : ".....maintenant ça commence à aller....." - Le "Tigre Royal" du Bengale et le "Tigre de Sibérie" (ou Tigre de l'Amour)
1912 - 1916: The prevailing spirit of innovation is interrupted by the Great War
- Marchande de pommes (R.M.n283) and portraits of the high society - The spirit of innovation meets the Belle Époque: a time of contrasts - Bugatti exhibits with Alberto Grubicy and the futurists with Bernheim-Jeune - Bugatti is adept at capturing the language of animals; for fifteen years he met their gaze - Bugatti retrouve les grands rapaces au zoo d'Anvers:les serpentaires,les vautours, les condors - To capture a likeness of the animal before him, Bugatti's approach is at once a precise and complex work of synthesis - The Condors editioned by Claude Koenig and Rungwe Kingdon (Pangolin Editions) - The bronze casts made exclusively for Ettore Bugatti - As the year 1913 drew to a close, Bugatti wrote to a friend: "Now things are beginning to go well” - The Royal Bengal Tiger and The Siberian Tiger

X. Rembrandt Bugatti meurt à Paris le 8 janvier 1916.
- Août 1914 , Anvers : le désastre de la Grande Guerre. Bugatti devient brancardier. - Décembre 1914 : Bugatti part à Milan rejoindre sa famille; avec l'aide de Palazzolo, il expose chez Grubicy. - Mai 1915 , Milan : Rembrandt Bugatti se porte volontaire, il est déja tuberculeux. - Décembre 1915 : Bugatti revient à Paris. Il se suicide le 8 janvier 1916 - 1916 : le témoignage de son ami milanais, l'architecte Giulio Ulisse Arata. - Pour son frère, Ettore Bugatti va reprendre le flambeau. - Adrien-Aurélien Hébrard va rouvrir la fonderie avec Albino Palazzolo.
The events leading to Rembrandt Bugatti's death on 8 January 1916 - Antwerp, August 1914 : the tragedy of the Great War. Bugatti became a stretcher-bearer - December 1914 : Bugatti left for Milan to rejoin his family. With Palazzolo' help he exhibited with Alberto Grubicy - May 1915 : Rembrandt Bugatti volunteered for war duties despite already suffering from tuberculosis - December 1915 : Bugatti returned to Paris. His suicide followed on 8 January 1916 - 1916 : an account written by Bugatti's friend, the Milanese architect Giulio Ulisse Arata - Ettore Bugatti takes up the torch for his brother - Adrien-Aurélien Hébrard reopens the foundry with Albino Palazzolo's help - The A.-A.Hébrard cahiers - A.-A.Hébrard original editions (1904-c.1934)

ÉPILOGUE : POUR LE REGARD TOUT EST CONTEMPORAIN. AUTEUR: VERONIQUE FROMANGER
EPILOGUE : "TO THE EYE ALL IS CONTEMPORARY" Towa rds a new vision: the centennial celebration of Rembrandt Bugatti's life

REMBRANDT BUGATTI-Répertoire monographique- PLAN DU LIVRE

Qui sont les pères de Rembrandt Bugatti? Who were Rembrandt Bugatti's "fathers"?

bugatti.conservatoire@orange.fr (veronique fromanger) — Sat, 23 May 2020 15:29:01 GMT

Répertoire monographique
V. Fromanger

WHO WERE REMBRANDT BUGATTI'S "FATHERS"?
At the end of the nineteenth century, the Accademia di Belle Arti di Brera, the renowned school of fine arts in Milan, played host to a true meeting of minds, assembling in its midst a generation of such exceptional men as Giovanni Segantini, Carlo Bugatti, Paolo Troubetzkoy, Giuseppe Grandi, Medardo Rosso and Vittore Grubicy. Every one of them would be a father figure to the young Rembr andt Bugatti.

GIOVANNI SEGANTINI
It is to his uncle, Giovanni Segantini (1858-1899) that Rembrandt Bugatti owes his name, chosen in honour of Rembrandt Harmenszoon van Rijn. Segantini was the painter of Swiss mountain landscapes known as the "Van Gogh of the Alps" and a leading figure of the Italian Divisionist movement, future favorite of the Grubicy Gallery.A collector of rare books and influenced by Nietzschean phoilosophy and his reading of Schopenhauer, Maeterlinck, and Indian literature, he was admired by Max Liebermann, Gustav Klimt and the Vienna Secession. Segantini was equally inspired by the chemists M. E. Chevreul and N. O. Rood and their research into colour division. In turn, his compositions juxtapose multiple, fine, glittering brush strokes to produce colors unparalleled in their rich luminosity. In his correspondence, Segantini writes:"I am a passionate nature lover(...) In these mountains I feel irrepressibly exhilarated (...) I have lived with animals for a long time in order that I might understand their passion, their pain and their joy.I have observed rocks, snowfall, rainstorms, large mountain ranges and single blades of grass and have searched for their spirit in my soul. I asked the flower the secret of universal beauty and the flower replied by perfuming my soul with love".

CARLO BUGATTI
It is here at the Accademia that Segantini would meet Carlo Bugatti (1856-1940), son of Carlo Giovanni Luigi Bugatti from Nova Milanese; a sculptor working in wood and stone and a renowned architect fascinated by perpetual motion.
Carlo was brilliant, extravagant, anti-conformist and ferociously independent. He studied architecture and decoration in Paris and Milan.While very devoted to traditional craftsmanship values, Carlo was thoroughly familiar with the dynamics of form.He designed and produced extraordinarily original and inventive architectural furniture in exotic wood covered with vellum.His approach is at once asymmetric and geometric, favouring egg shaped, circular, oval and ogive motifs coupled with exotic, Japanese-inspired, moresque decoration.As early as 1890 , Bugatti patented his creations.Carlo Bugatti created animalier architectural designs and later on would use his fabulous imagination to compose metalwork in cast and chiselled silver, decorated with fantastical animals.
At twelve years old, Rembrandt Bugatti was a precocious child, an apprentice craftsman according to true italian tradition.Immensely high standards of skilled handwork would be the basis of Bugatti's education and this propensity for technical savoir-faire would remain with him his entire life.His father taught him drawing, perspective and the art of handling various tools.Bugatti was thus introduced to handwork in wood , stone and metal.Most importantly, he learned the arts of plaster moulding and plastiline modelling.Invented by Tschudi in Genoa in the mid nineteenth century, plastiline is a very malleable type of modelling clay, off white in colour, made of kaolin, tallow, lanolin and sulphur; the great technical novelty being that plastiline does not harden and need not be dampened when stored.In 1907, the italian art critic Vittorio Rossi Sacchetti writes in the first monograph dedicated to Rembrandt Bugatti:"(...) playing with the malleable material to hand in his father's studio as a child, he discovers to his surprise that this material can take on a shape and life of its own with natural, intuitive vision.It is from these admirably humble beginnings that this artist is born."

PAOLO TROUBETZKOY
The Italian sculptor Paolo Troubetzkoy (1866-1936) is of Russian descent by his father, Prince Petrovitch Troubetzkoy, and American on his mother's side, the opera singer and pianist Ada Winans.On 27 May 1896, Troubezkoy made a bust of Segantini during an exhibition at the Grubicy brother's art gallery, spontaneously modelling his friend's bust on the spot in less than three hours, in an exploration of instantaneous emotion.Later, in 1899, Troubetzkoy would ask his friend Carlo Bugatti to sit for him.Carlo donned an overcoat and his large wide-brimmed top hat or huit-reflets with a low crown.This taste for elegance and for origina l , tailor-made clothes would be passed on his two sons.His daughter Dejanice would become a dressmaker, and it was she who "carefully and creatively" cut and sewed clothes fot the entire family.Troubetzkoy was already famous, with one entire hall of the Russian pavilion dedicated to him at the Paris World Fair in 1900.In Russia, Troubetzkoy had been a portraitist to the Russian nobility.His art and his lifestyle were equally eccentric;he regularly slept on the ground in his studio surrounded by his Siberian husky dogs, wolves and even a bear.At the Ecole des Beaux-Arts, his "impressionist" studio and his modern vision of a new sculptural space were a resounding success.

MEDARDO ROSSO
Troubetzkoy's oeuvre very much follows in the tradition of sculptors taught at the Accademia di Brera by Giuseppe Grandi (1843-1894); the sole sculptor having contributed to the "Scapigliatura".This artistic and literary movement was opposed to traditional bourgeois values and imbued with the rebellious spirit which would characterise aspects of the Futurist movement to come. Rather than using continuous lines to define form, Grandi prefers a rough, irregular surface which captures and energises the light, giving the sculpture real substance:"La stecca lavora nervosa e morbida, come un pennello, a rotture, scavature, fiocchi, fratture, sospesi segni che suggeriscono il colore quasi e accennano il chiaroscuro condizionato e completato dai cangianti accidenti della luce".
The first works by the sculptor Medardo Rosso (1858-1928), a wizard of wax modelling and a master founder, passionate about photography, are a perfect continuity of Giuseppe Grandi's revolutionary language.In Milan, Rosso was a member of the Scuderia Grubicy stable of artists and he would choose Paris in which to pursue his own brand of experimental impressionism. However, his contentious relationship with the all powerful sculptor Auguste Rodin would prevent him from flourishing and establishing his reputa tion.

ALBERTO AND VITTORE GRUBICY
The brothers Alberto and Vittore Grubicy de Dragon came originally from Hungary and were both multi-talented.Art critics, collectors and art dealers working between Milan, London, Berlin, Antwerp and Paris, both brothers played an important role in the dissemination of Italian art in Europe.In London, it is they who in 1888 exhibited Segantini's paintings, Carlo Bugatti's furniture, and sculptures by Paolo Troubtzkoy and Medardo Rosso.Alberto Grubicy (1852-1922) was the first to display Rembrandt Bugatti's sculptures in Venice around 1901 and would also be the last to exhibit him in Milan in 1915.Introduced to painting by the Dutch painter Anton Mauve, Vittore Grubicy de Dragon was a key advocate of John Ruskin's theories. He mirrored Ruskin in the attempts to establish links between modern art, landscape, nature, morality and the modern humain condition to serve as a counterweight to the new industrial civilisation.All of these creative artists were united through the bonds of music and opera.As a very young man, Rembrandt Bugatti became friends with the tenor Giuseppe Borgatti and made a statuette oh him.By 1902, none of Bugatti's "fathers" could deny that he already showed great maturity and confidence in his modelling.
Throughout his dazzling career, Bugatti would look to his "fathers" for support. In Paris, René Dubois would become his "adoptive father". Later, in Antwerp, he was replaced by François Crozier. In turn, his exclusive founder and éditeur, Hébrard, counted both as a friend and "boss".

The present monographic repertoire shows us the opulence of shapes, areas and perspectives of Rembrandt Bugatti’s art, conceived with a kind of certainty and freedom that even the greatest challenges, in view of his mooching-around models, mastered without an effort: a photographic memory, a quasi one-to-one transfer from eye to hand; not an animal sculptor, rather a born sculptor per se; an absolute talent in sculpture, a man, whom every vehicle seemed to be fitting, in order to capture life in all of its forms and feelings; a portraitist of humans and animals, for whom the fauna from every continent, in the end, opened a world of patterns and structures, rhythms and means of behaviour, which, in order to tap the fullest potential, would have brought other talent to their limits.

And, the monographic repertoire shows us even more: a young man – an obvious lone wolf and still a family-oriented man, a man with humour and fickleness having the greatest self-confidence and the most abysmal doubts. Even in terms of how to place him nationally – highly elusive, half of the continent – how modern! – all in one single gestalt: a tall, young Italian in conspicuous clothes, whom one, for this reason, would surely call „Americano“, who speaks the language of France and lives in Flanders, while his brother builds cars in Alsace. The dachshund that accompanies him is a German? After all, he has the German name »Wurst« (sausage).

Keeping the memory alive and the magnificent rediscovery of Rembrandt Bugatti for a wide audience is, as it was often the case in the past, first the work of individuals; people who fight for their convictions over years and decades beyond all fashions, who restlessly and laboriously save works, sources and documents, trace descendants, record traditions and exhibit art. Véronique Fromanger and the people close to her have done all of this.

A monographic repertoire is the highest acclaim of a life’s work – and, within itself, the same thing: a mission of titanic proportion. Rembrandt Bugatti – and all of us – owe much to the author of the book at hand. „I hope and believe that I will succeed in creating a life’s work that no contemporary or previous animal sculptor had ever created“, wrote Bugatti. The monographic repertoire at hand proves that his hope came true. The serious and profound manner in which Rembrandt captured the wealth of the world in his sculptures make him one of the most unique artists in the history of sculpture.

par PH.Demandt

Who were Rembrandt Bugatti’s "fathers"?

Giovanni Segantini - Carlo Bugatti - Paolo Troubetzkoy -
Giuseppe Grandi and Medardo Rosso -
The Grubicy gallery and
Bice Bugatti-Segantini

Rembrandt Bugatti dans les collections muséales

websitebuilder@amen.fr — Thu, 21 May 2020 08:00:25 GMT

Rembrandt Bugatti Répertoire monographique

Expositions permanentes

Véronique Fromanger

-Musée des Beaux-Arts (MBAR), Rennes , France:
Eléphant en marche (bronze, fonte A.A.Hébrard,cast (2), approx.46,5x70x23cm) donation Emile Chouanard 1919- grand modèle-Exposition BERLIN 2014 mars à juillet Alte Nationalgalerie

-Musée d'Orsay, Paris, France :

Fonds d'atelier Rembrandt Bugatti , donation Jean-Marie Desbordes, 1981 (donation d e quatre vingt plâtres e t un Marbre-voir le blog consacré à la donation).

Rembrandt Bugatti studio collection:

donated to the Musées nationaux by Jean-Marie Desbordes, Ebé Bugatti's godson and heir, in 1981 ( donation of 80 plasters in total and Marble).

Panthère marchant 1905(Plâtre original, original plaster, ref.3573, approx.24x27,9x47,8cm)

Deux Lamas, mère et son petit (bronze, édition originale A.A.Hébrard , cast (1), approx. 35x33x72,5cm)

Donation Ebé Bugatti en 1975.Donated by Ebé Bugatti in 1975-Exposition BERLIN 2014 mars à Juillet Alte Nationalgalerie

-Musée Olympique, Lausanne,

Suisse /Switzerland :

Colosse nu, lutteur olympique (bronze, Fonderies de Chevreuse, 1990, cast (2/3), cachet Valsuani, acquisition du Musée Olympique de Lausanne en 1999. D'aprés le plâtre original jamais édité. Reproduction produced from the original plaster . Exposition permanente dans les jardins du Musée Olympique.

-Musée cantonale des Beaux-Arts , Lausanne, Suisse :
-Chien Braque et ses chiots (bronze, édition originale A.A.Hébrard, donation Docteur Widmer)
-Jeune Zébu et oies (bronze, édition originale A.A.Hébrard)

-Musée d’art moderne et contemporain(MAMCS) , Strasbourg, France :
-Lion de l'Atlas (Plâtre original 45x40x52cm)

-Lion et Lionne couchés (Plâtre original)
-Mes Antilopes (Plâtre original 103x66x99cm)-Famille de Chameaux (Plâtre original)-

-Le grand Fardier (Plâtre original en sept pièces)

-Jeune fille nue assise (Plâtre original 61x30,8x54,5cm)

donations Ebé Bugatti 1975; donated by Ebé Bugatti in 1975

-Musée des Beaux-Arts (MBAR), Rennes , France:

-Eléphant en marche (bronze, édition originale A.A.Hébrard,cast (2), approx.46,5x70x23cm) donation Emile Chouanard 1919- grand modèle-Exposition BERLIN 2014 mars à juillet Alte Nationalgalerie

-Legion of Honor , The Fine Arts Museum of San Francisco, California, Etats-Unis:
-Babouin sacré Hamadryas (bronze, édition originale A.A. Hébrard , cast(4) )

-Hirschhorn Museum of art , Smithsonian Institution,Washington D.C , Etats-Unis:
-Babouin sacré Hamadryas (bronze, édition originale A.A.Hébrard , cast(9), approx. 43,4x45,1x17,8cm)
-Tigre Royal (bronze, édition originale A.A. Hébrard ,41,3x74,2x19,9cm)
-Bison européen (bronze, édition originale A.A.Hébrard , 35,5x49,1x21,9cm)

-Rhinocéros de trois ans (bronze, édition originale A.A.Hébrard , dim. : 41cm x69,9x22,9cm)

donations Mrs.David Bruce 1977. Exposition BERLIN 2014 Alte Nationalgalerie

-Musée d'Art et d'Industrie (Musée de la Piscine), Roubaix, France:
.Deux Marabouts, l'un contre l'autre (plâtre original)
.Chat à l'écuelle (Plâtre original, grand modèle)
.Deux Daims se suivant (plâtre original)
Fonds d'atelier Rembrandt Bugatti, donation Jean-Marie Desbordes

-Musée des Beaux-Arts de Calais,France:
.Couple de Zébus (28,2x59x29,5cm)
.Lévrier debout (29,4x29,5x20,5cm) -Emeu (22,5x29,3x18,8cm)
Plâtres originaux, donation Ebé Bugatti

-Musée des Beaux-Arts de Lyon, France:
.Eléphant il y arrivera (plâtre original, 47x27x78cm), large model
.Lion (plâtre original)
.Panthère dévorant (plâtre original)-
.Cerf se grattant (plâtre original)
Fonds d'atelier, donation aux musées nationaux par Jean-Marie Desbordes, filleul et héritier de Ebé Bugatti

- KMDA Société Royale de Zoologie d’Anvers, Belgique :
.Eléphant mendiant (bronze, édition originale A.A.Hébrard , tirage (1), grand modèle, acquisition Jardin Zoologique d'Anvers 1908 exposition BERLIN 2014 Mars à Juillet Alte Nationalgalerie
.Tigre de Sibérie (bronze, édition Pangolin-Editions, 1997, tirage (4/8), d'aprés le plâtre original – jamais édité- reproduction grandeur nature

-Musées royaux des Beaux-Arts de Belgique, Bruxelles:
.Deux petites Panthères , l'une se léchant la patte (bronze, édition originale A.A.Hébrard , tirage (1), acquis en 1907
.Lionceau et Lévrier assis l'un contre l'autre (bronze, édition originale A.A. Hébrard (2) acquis en 1907-exposition BERLIN 2014
.Jabiru , édition originale A.A.Hébrard, tirage (3)
.Serpentaire femelle , édition originale A.A.Hébrard, tirage (7),
.Autruche baissant la tête , édition originale A.A.Hébrard, lettre M
.Serpent , bronze, édition originale A.A.Hébrard (5)
Dation Madame Gillion Crowet en 2006 (bronzes, éditions originales A.A.Hébrard)

-Galleria nazionale d'arte moderna e contemporanea di Roma, Italie:
.Eléphant mendiant (bronze, édition originale A.A. Hébrard, cast(2), approx.39x22x80cm), acquisition musée de Rome, en 1909, à la Biennale de Venise

.Babouin sacré Hamadryas
-Puma mâle
- Eléphant au feuillage
- Grand Jaguar marchant
-Léopard
- Ours
(Plâtres originaux) donation par A.A.Hébrard en 1924

-Musée animalier Georges Poulain à Vernon, France :
.Kangourou bondissant
-Quatre petits cerfs chinois
-Grande Cigogne en marche
-Deux Panthères se léchant
-Deux Jaguars
-Deux Biches
(Plâtres originaux en dépot) provenant du fonds d'atelier Rembrandt Bugatti

-Wildlife Museum of Art, Jackson Hole, Etats-Unis:
.Antilope Cana -bronze, édition originale A.A.Hébrard, tirage (5)
.Petites Antilopes Goudou - bronze, édition originale A.A. Hébrard
.Cigogne sur une patte - bronze, édition originale A.A. Hébrard

-Musée National de l'Automobile , Mulhouse, France:
.Petit Eléphant dressé , bouchon de radiateur de la voiture "Bugatti Royale"(reproduction)

-Peter Mullin Automotive Museum, Los Angeles, Etats-Unis
.Petit Jaguar accroupi (bronze, édition originale A.A.Hébrard)
. Petite Panthère assise (bronze, édition originale A.A.Hébrard)
.Barbara Bugatti (bronze, édition originale A.A.Hébrard)

-Musée de France du Touquet, France:
.Mouflons à manchettes (bronze, édition C.Valsuani- c.1919/1926)-

.Groupe de Chèvres sauvages (bronze, édition C.Valsuani- c.1919/1926)

-Alte Nationalgalerie, Berlin, Allemagne:
.Petit Bouledogue français (bronze, édition originale A.A. Hébrard, tirage 35)-exposition Berlin Alte Nationalgalerie mars à juillet 2014
.Quatre vaches : vache tournant la tête, vache marchant, vache meuglant, vache broutant(éditions Giudici e Strada pour Alberto Grubicy, ancienne collection Mario Gallini, dépot de Ernst von Siemens Kunststiftung)
.Deux Vautours, l'un couché (bronze , édition originale A.A.Hébrard, Alte Nationalgalerie,Staatliche Museen zu, Berlin)

-Museum Gustav Kestner , Hannovre, Allemagne:
.Jeune fille nue aux bras croisés (Marbre, édition A.A.Hébrard)-exposition BERLIN 2014 mars à juillet Alte Nationalgalerie

-Musée des Arts décoratifs, Paris, France:
.Portraits de François Crozier assis,
.madame Crozier et son petit chien,
.madame Crozier en manteau et collerette
(Bronzes, éditions A.A.Hébrard et Petermann, donations madame F.Crozier)

-Musée du Petit Palais, Paris , France:
.Deux Pélicans l'un prés de l'autre (bronze, édition originale A.A.Hébrard)
.Petit chat à l'écuelle (bronze, édition originale A.A.Hébrard, donation madame Anos)-exposition BERLIN 2014 mars à juillet Alte Nationalgalerie