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REMBRANDT
BUGAT T I
emotions in bronze
REMBRANDT BUGAT T I
Due to the ambiguities inherent in measuring three-dimensional
objects, the measurements given throughout this publication are
primarily to provide the reader with a sense of each sculpture’s scale.
They are not intended for reference in issues of authentication, etc.
First published in Great Britain in 2013 by
Sladmore Gallery Editions
57 Jermyn Street
St James’s
London SW1Y 6LX
+44 (0)20 7629 1144
[email protected]
www.sladmore.com
Copyright © Sladmore Gallery Editions 2013
The moral right of the authors has been asserted.
All rights reserved. Without limiting the rights under
copyright reserved above, no part of this publication may
be reproduced, stored or introduced into a retrieval system,
or transmitted, in any form or by any means (electronic,
mechanical, photocopying, recording or otherwise), without
the prior written permission of both the copyright owner
and the publisher of this book.
ISBN: 978-1-901403-52-7
Design: Amanda Brookes at Brookes Forty
Editorial consultant: Paul Forty at Brookes Forty
Photography: Steve Russell Studios Ltd., P. J. Gates Ltd., Ken Adlard
Printed and bound in Great Britain by Pureprint
REMBRANDT BUGATTI
emotions in bronze
A LOAN EXHIBITION
SLADMORE
foreword
some thoughts on rembrandt bugatti
There are good artists, and interesting artists, and there are great artists. A career
of some length helps to make the case, of course, but there are any number of
examples to prove it not essential – Van Gogh, Modigliani, Raphael and Caravaggio
come immediately to mind. A significant talent snuffed out before the age of 40 is
always to be regretted, but the work remains. So it is with the sculptor Rembrandt
Bugatti: born in 1884, already a figure on the international stage by the time
he was 19, and dead by his own hand early in 1916 at barely 31, yet another
psychological casualty of the Great War. Of his being a good artist there can be
little doubt, and interesting he and his work most certainly are. But is he a great
artist? There is indeed a case to be made, though it seldom is.
Why this should be so is something of a puzzle, for the proof of greatness is plainly
there in his work. Yet we know all too well that the Gods of Reputation are fickle
in the bestowal of their favours, happy to transform living success into posthumous
obscurity, and a desperate life into eternal fame. And throughout that decade or
so before 1914, Rembrandt Bugatti was indeed conspicuous in both his critical and
commercial success.
He had a favourable start in being born into an active artistic family. His grandfather,
Giovanni Bugatti, had been an architect, and his father, Carlo, was a successful and
influential designer of jewellery, furniture and architectural decoration in the heyday
of Art Nouveau. And his older brother, Ettore, was to become the great automotive
designer and engineer, his eponymous racing car the quintessential image of
the post-war age of Art Deco. To be one of such a family would hardly seem an
impediment, yet paradoxically perhaps that is where the problem lies.
Rembrandt’s father and brother were designers, their art applied to particular
function or purpose: he was the artist pure and simple. As the world changed in
the aftermath of the Great War, so too did the currency of Modernism, setting
Rembrandt’s sculpture in the context of a vanished world. And both father and
brother long outlived him. Did their own equally distinguished and distinctive
achievements and accompanying reputations, set so obviously in the character of
Art Nouveau and Art Deco, cast a long shadow over those of the now dead son
and brother, giving his work an aura more of fine design than fine art?
5
Perhaps: and one cannot choose when to be born. Bugatti was an artist very much
of his time, and radical though it is, in its reconciliation of Rodin-esque impressionist
modelling with the cool refinement of the Secession, his work is nothing if not
stylish. His choice, too, of the animal world as his principal subject can hardly have
helped. There is no logic to it, but we all know that, simply by virtue of the apparent
subject, the animalier sculptor, like the still-life painter or portrait specialist, is always
to be shut safely up in the appropriate art-critical cage, and so relegated to uncritical
secondary consideration. The work may be there to be enjoyed, and even keenly
collected, but that is not to say it is to be taken too seriously.
But once we do look at such work, not as representation, nor as decoration, but
for what it is, there in front of us, we are often in for a surprise. And with Rembrandt
Bugatti, the surprise is one that takes the breath away.
With Art, verisimilitude, no matter how accurate, is never itself the point, for
otherwise, with sculpture at least, any simple cast direct from the object – or, these
days, digitally registered and reproduced by laser wizardry – will do. And what
any such basic copying exercise so obviously lacks is the artist’s transformative
intervention that, while making clear reference to the subject under scrutiny, results
in an object no less real, independent and distinct.
Such engagement requires decision and choice at every point, which in turn
demand selection, alteration, distortion and, above all, simplification. For Nature is
not to be matched: no eye is equal to its every detail and complexity, nor hand yet
capable of that final mystery of turning clay and metal into actual flesh and blood.
Rather it is a question of seeking to achieve something imaginatively equivalent,
that is at once recognisable in its reference and yet entirely true to itself. The clay
pressed onto the armature just so, the scrape of spatula or file across the surface,
or indeed the print of the hand itself, are what they are, never something else. And
it is from this that the image grows and develops in its own strange way, as much
by educated intuition on the part of the artist as by any deliberated judgement.
Seldom does the work turn out to be quite what was envisaged at the outset. The
first and only duty of the artist is to let it be true to itself, and to get it right.
What he gives us is never a simulacrum, substitute or imitation, but something
entirely and fundamentally different, and entirely his. The lion paces proudly
forward, wearing his mane as if it were a Pharaoh’s crown, though rendered none
the less hair-like by the heavy, simplified scoring deep into the surface of a skull and
flank reduced to their near-abstract sculptural essence. Pelicans gossip together,
one spreading his wings as though wrapping himself in a shawl, with but the most
basic indentations to indicate feathers at all, yet these the most active and feathery
of wings. Boars snuffle and shiver together, the clay worked with the utmost speed
into nothing more boar-like in the world.
It is in such effective sculptural simplicity that the true gift lies. Each work supplies
but another exquisite example of formal understanding lightly worn, graced with
such wit and subtlety of invention that, once noticed, does nothing but astonish
and delight. Bugatti gets it right every time, as true to his subject, in his evident
love and sympathetic knowledge of the animal world, as he is to the work that is
its witness. Within its admittedly small compass, it is great art.
Had he lived, would it have been seen as such? We tend, perhaps, to see greatness
too much in terms only of innovation, originality and influence, ever advancing the
march of modernism. Great art, rather, is just that – great art.
William Packer
London, 2013
7
emotions in bronze
family groups and other unexpected friendships
The Sladmore first exhibited the sculpture of Rembrandt Bugatti back in the late
1960s. My mother had been a leading breeder of pointer dogs and my father had
by then built a renowned aviary at Sladmore Farm in Buckinghamshire, and it was
these interests which inspired them to collect sculptures of, firstly, dogs, and later
on other more exotic animals by the nineteenth-century group of sculptors working
in France and known as ‘Les Animaliers’. By 1964 a barn had been converted and
the first Sladmore Gallery opened its doors, providing visitors with the unusual
opportunity to view sculpture alongside assorted exotic birds and mammals.
Whilst my father was at heart a collector, he was also greatly interested in animal
husbandry and went on to win many medals for his successful breeding programme
– featuring macaws, flamingos and gibbons amongst others. This wonderful
childhood with its close proximity to a wide range of animals and birds afforded
me the opportunity to observe them at leisure and, encouraged by my father, to
recognise and appreciate their interaction and their displays of varying attitudes
and emotions. Shortly afterwards I was introduced to the sculpture of Rembrandt
Bugatti, and it is this same recognition of animals’ emotions in his work that I have
always found particularly absorbing.
By 1970 the Sladmore had moved from the farm, via a brief stop in Kensington, to
Mayfair, where the Sladmore Contemporary gallery is still housed today. Continuing
my father’s interest in showing ‘art alongside life’ there was naturally a space set
aside for a small tropical house, which was filled with hummingbirds, iguanas and
chameleons, although sadly this is now long gone. I joined the gallery in 1980,
and by 1988 I had gathered together enough sculptures to mount my first
Rembrandt Bugatti exhibition. It comprised twenty works, most of
which were of single animals, but it also included – on loan – his
wonderful and intimate sculpture of a pair of pelicans, the
male seeming to shield or protect his mate with his outstretched wing. I was particularly
keen to include this work, as
throughout my childhood it
had sat on a high shelf in our
8
drawing room, where the protruding outstretched wingtip had become the
favourite roosting place of Albin, the barn owl I had hand-reared after it was
rejected by its mother.
Twenty-five years and several more Bugatti shows later, I am finally mounting an
exhibition that highlights this same unique quality in his work. He not only had the
observational skills to single out fleeting moments of tenderness or camaraderie
between his animal companions, but he also possessed that much rarer skill, the
ability to capture these moments in clay. Bugatti preferred to model in a mix of clay
and wax called plasteline, which did not dry out, and in which every nuance of his
fingerwork was preserved. This technique and the rapport he had with the
renowned lost wax foundry of A. A. Hébrard meant that the intensity of expression
found in his clay models was just as recognisable in the finished bronze.
But where did this particular skill originate? People often describe Bugatti as an
‘animal sculptor’ rather than just a ‘sculptor’ or even a ‘sculptor of the human form’
– although he was equally adept at this when he chose to be. I prefer to think of
him instead as a ‘portrait sculptor’, and this I feel is one of the keys to his original
approach to and success at the sculpture of animals. The nineteenth-century
sculptors who made up ‘Les Animaliers’, shown at the Sladmore when it first
opened, were the pioneers of their day, but they sculpted generic animals formed
from an amalgamation of images seen, specimens observed and (in the case of the
great Antoine-Louis Barye, often working alongside his friend the Romantic painter
Delacroix) carcasses dissected. Bugatti’s approach to animals was entirely different,
however: right from the start he saw each animal as an individual, and thus each
sculpture is an intimate portrait of the particular animal that was before him. The
fact that most of his early sculptures depict family pets undoubtedly helped, but
this vivid portrayal of what was before him is evident throughout his oeuvre – a
leopard with a kink in its tail, for example, or an antelope with its leg in plaster (see
catalogue no. 13, illustrated above). He never chooses to gloss over these
quirks, but uses them to make his subjects uncannily lifelike.
9
Many sculptors have succeeded in capturing a range of emotions in models with
whom they can converse. Bugatti’s uniqueness lay in extending this capacity to his
mute subjects. Perhaps some people’s unease with this unusual skill has encouraged
them to hint at his awkwardness with his own family and friends, and much has
been written about him struggling with human relationships. He once even wrote
to his brother, ‘the animals are my true friends’, and he was certainly equally at
home with them. Domesticated and captive animals are both essentially dependent
on us for their very survival – much like a newborn baby – and Bugatti was aware
of the strong bond that exists between master or keeper and their charge. But he
was equally attuned to his friends’ emotions, and was known for his generosity to
his less successful fellow artists.
Unfortunately we have been left with no long letters or interviews, so we will never
be sure of how or where Bugatti found his inspiration. What is certain is that he
produced a unique body of work, one important aspect of which we hope to have
highlighted with this small selection – an aspect which not only has a major bearing
on his groups of animals, but also ultimately informs his whole oeuvre.
Edward Horswell
10
00
rembrandt bugatti
pairs and other associations
Rembrandt Bugatti loved making sculptures about the associations of animals. This
enabled him to pioneer large panoramic ensembles that stretched along the entire
length of a table, as well as to create the tender pairings of male and female birds
and animals with which we are now so familiar.
These ensembles were also a part of Bugatti’s sculptural method in a kind of
conversation of form and shape. Repeated elements interspersed with individual
variation are a means employed by composers and musicians to create familiarity
of tune and rhythm. This same repetition is also a sculptural device through
which Bugatti could exploit the small differences that emphasised the personal
characteristics of the individual animals and birds he was portraying whilst at the
same time celebrating them for their own sake.
It is in the sculptures of Bugatti that for the first time such emphasis was placed
on an animal’s individuality. In the late nineteenth century, animals and birds were
commonly believed to respond only by base instinct; one antelope was thought to
behave in precisely the same way as any other, while lions and tigers were also
assumed to follow set patterns of behaviour controlled only by the urges of nature
to feed, sleep and reproduce. It was Bugatti’s deep empathy for his animal subjects
that gave him the patience and inclination to reach beyond this belief and – by
truly observing and understanding the nature of the animals – to convey their real
beings in his sculpture.
Wild animals in nineteenth-century sculpture were portrayed mostly in hunting
scenes celebrating man’s dominance over all of nature, and although the genre
grew to include different species of mammal and bird, their representations tended
to be devoid of any sense of emotive feeling. Some were depicted fighting one
another; tiger subduing crocodile, lions wrestling with serpents. Others had their
exotic strangeness exaggerated; orang-utans and gnus became distorted people
and horses. The animal world was distant, strange and frightening.
Glimpses of character in animals were first portrayed in paintings of dogs and horses
(for example, Stubbs’s magnificent racehorses), precisely because these species of
animal were so familiar to people. This same familiarity led Bugatti to choose
domestic animals such as cows, horses and dogs as his first models. His deep sense
of empathy is expressed through the clay, plaster or bronze, along with profound
12
respect for the way in which the animals behave with each other. There is no great
romantic drama: his cattle are animals at ease, walking, grazing and lowing just as
they do in the field; the mare suckles her foal; mules and horses rest in touch with
one another.
This emphasis on the animal’s natural behaviour as worthy of sculptural
celebration was new, and Bugatti would shortly try out his new approach in the
area where it would have the most impact: with wild animals of the zoo and
circus. His treatment of these exotic creatures would again turn convention and
expectation on their heads.
Bugatti chose the grouping of animals as a subject matter early in his career.
In these sculptures he places his camels drinking en famille; his elephants
touch each other's mouths with their trunks; lions play with a ball, share food or
lounge against each other almost in the manner of domestic cats. Not only does
Bugatti emphasise the undramatic behaviour of these species, but he also celebrates
the unique individualities of the animal’s body language, its ‘personality’. He looked
at animals as he looked at his own family and pointed out the nature of the
relationships between them.
Bugatti knew he was doing something new, different and exciting, and he set himself
the task of representing as many different animals and birds in as authentic a way
as he could. He searched out the essence of each subject, creating associations
where their behaviour was put into context; where the posture of one individual
encouraged a response in another, where the sense of touch or the secure
atmosphere of family could be presented in such a way as to move us into recognising these emotions in ourselves.
The potential to anthropomorphise or sentimentalise is enormous when trying to
represent feelings in animals, and it is a testament to Bugatti’s observational
accuracy and technical skills that he avoids mawkish generalisations. The sincerity
13
in his own feelings for the animals and the honesty of his responses to them exclude
any sense of mannered sentimentality, and he remained ruthlessly honest in the
way he constructed his compositions.
The science of ethology, first explored by Eugène Marais in South Africa around
1906, and later expounded brilliantly by the 1973 Nobel Prize winners Konrad
Lorenz and Nikolaas Tinbergen, started with similar ambitions: to study animals
as they are rather than as we make them. Animals responding naturally to each
other and their environment are so much more interesting than as we
preconceive them. The postures and gestures represented by Bugatti enable the
modern student of ethology to read the behaviour of the animal with precision; the
way a male leopard touches the leg of a female to test her readiness to mate, the
manner in which a lion yawns in display, how a monkey hides its face to disengage
a stare, or how a young deer nuzzles its sick mother to offer comfort (see catalogue
nos. 11 and 12). In every sculpture of a pair or group of animals the behaviour
is impeccably observed.
In single studies Bugatti would distil a moment that typified an individual
characteristic; a signal, a stance or perhaps a ritualised element of behaviour often
brought about by its captivity. Here we encounter Bugatti’s other great theme: the
confinement of beautiful exotic animals and how he feels for them.
Captive antelope, cattle and deer had fenced areas of park devoted to them where
they could roam relatively freely. Bugatti captures them beautifully, each family
member relating to the others in keeping with its rank in the hierarchy, relative
dominance or submission expressed in their hoof-tip stance and attitude. The big
cats in contrast restlessly pace their barred cages with ritualised psychotic monotony,
the endless repetition of behaviour that has ceased to function naturally, like the
spray marking of a territory too small to need claiming, or crouching in endless wait
for non-existent prey. Bugatti saw it all and in his ensuing sculptures captured for
the first time this zoophobic behaviour. Those same sculptures still inspire feelings
of outrage and pathos today.
The early twentieth century saw the dawning of a new sensibility towards the
natural world. Scientists were thinking differently about animals. Darwin’s
revelations of evolution had exposed Homo sapiens as just another animal, and the
RSPB and the RSPCA were promoting the protection and welfare of birds and
animals. Zoos were also changing their attitudes. Animals were now being kept in
pairs with the object of breeding, cages were being reconstructed to accommodate
some semblance of natural environment, bears were relocated from deep pits to
rocky enclosures. Zoos soon found that when animals reproduced, the public would
flock in to see the latest newborn, and slowly zoological societies realised they could
play a part in preserving rare species and educating rather than merely entertaining
the public at large.
14
HI RES VERSION BY STEVE TO COME
FROM SONIA
13
The zoo at Antwerp, one of the most progressive of its time, loaned a precious pair
of bushbuck to Bugatti for his most ambitious sculpture on the theme of pairs.
Brought to Paris, the bushbuck lived in Bugatti’s studio, and here as he looked after
their every need he studied them at ease, absorbing every detail of their anatomy,
physiognomy and character. The end result, his chef-d’oeuvre (see catalogue no.
6), is a double portrait, life size, lovingly modelled with every nuance of the two
creatures’ beauty and individuality; a torn ear, a small mole, the particular cowlicks
of fur-growth and the habitual postures the antelope assumed with each other. The
licking tongue of the female antelope is the contact between the two individuals,
and this gentle moment is typical of the change Bugatti sought to bring to the
sculpting of animals, finding the animal in himself and exposing the connections
we share with the animal world as much as representing the antelope.
Much has changed over the near century since Bugatti’s death in how we look at
animals. Circuses no longer promote animal entertainment, zoos all subscribe to
modern conservation ethics, and television now reveals animals’ lives in the wild in
a depth of which Bugatti could only have dreamed. More than ever, the animal
sculptures of Bugatti feel pertinent today; more than ever they touch and move us
profoundly. I believe that it is his acute power of observation and deeply honest
representation of his subjects combined with his sense of connection and feelings
for their condition that keep his sculpture so relevant to us today.
Rungwe Kingdon
16
list of works
1 Horse and Donkey, 1902
2 Mule and Emu, face-to-face, 1904
3 Two Boars, 1905
4 Lion Cub with Greyhound, 1906
5 Pelicans in Conversation, 1906
6 Mes Antilopes, 1908
7 Zebra and Grant’s Gazelle, 1909
8 A Family of Yaks, 1910
9 Nubian Lion and Lioness, 1909–10
10 Two Tapirs, 1910
11 Les Deux Amis, 1911
12 La Mère Malade, 1911
13 La Mère Blessée, 1911
14 Two Leopards, 1912
15 Two Flamingos, 1912
16 Rooster and Frog, 1912
17 Two Condors, 1913
1
HORSE AND DONKEY
1902, bronze
Cast by the Guidici and
Strada Foundry, Milan
Height: 9 in (23 cm)
Length: 19 in (49 cm)
Pièce unique
18
2
MULE AND EMU, FACE-TO-FACE
1904, bronze
Cast by the Hébrard Foundry, Paris
Height: 8¼ in (21 cm)
Length: 25 in (58 cm)
20
5
3
TWO BOARS
1905, bronze
Cast by the Hébrard Foundry, Paris
Height: 6 in (15 cm)
Length: 8½ in (21.5 cm)
22
00
00
00
00
4
LION CUB WITH GREYHOUND
1906, bronze
Cast by the Hébrard Foundry, Paris
Height: 11 in (28 cm)
Length: 16½ in (42.5 cm)
Pièce unique
27
00
5
PELICANS IN CONVERSATION
1906, bronze
Cast by the Hébrard Foundry, Paris
Height: 9½ in (24 cm)
Length: 14 in (35 cm)
29
6
MES ANTILOPES
1908, bronze, lifesize
Cast by the Hébrard Foundry, Paris
Height: 35 in (90 cm)
Length: 83 in (210 cm)
Pièce unique
31
7
ZEBRA AND GRANT’S GAZELLE
1909, bronze
Cast by the Hébrard Foundry, Paris
Height: 14½ in (36 cm)
Length: 22½ in (57 cm)
32
5
8
A FAMILY OF YAKS
1910, bronze
Cast by the Hébrard Foundry, Paris
Height: 14 in (36 cm)
Length: 32 in (81.5 cm)
Pièce unique
00
00
9
NUBIAN LION AND LIONESS
1909–10, bronze
Cast by the Hébrard Foundry, Paris
Height: 17¼ in (44 cm)
Length: 23½ in (60 cm)
36
00
00
11
10
TWO TAPIRS
1910, bronze
Cast by the Hébrard Foundry, Paris
Height: 12 in (30.5 cm)
Length: 28 in (72 cm)
40
00
11
LES DEUX AMIS
1911, bronze
Cast by the Hébrard Foundry, Paris
Height: 9 in (23 cm)
Length: 17 in (43 cm)
42
00
12
LA MÈRE MALADE
1911, bronze
Cast by the Hébrard Foundry, Paris
Height: 9 in (23 cm)
Length: 13 in (34 cm)
45
13
LA MÈRE BLESSÉE
1911, bronze
Cast by the Hébrard Foundry, Paris
Height: 21 in (54 cm)
Length: 52 in (131 cm)
Pièce unique
48
5
00
14
TWO LEOPARDS
1912, bronze
Cast by the Hébrard Foundry, Paris
Height: 8½ in (21.5 cm)
Length: 37 in (94 cm)
51
15
TWO FLAMINGOS
1912, bronze
Cast by the Hébrard Foundry, Paris
Height: 15 in (38 cm)
Length: 19 in (49 cm)
Pièce unique
52
00
16
ROOSTER AND FROG
1912, bronze
Cast by the Hébrard Foundry, Paris
Height: 10 in (25 cm)
Length: 14 in (36 cm)
54
11
56
17
TWO CONDORS
1913, bronze
Cast by the Hébrard Foundry, Paris
Height: 12 in (30 cm)
Length: 14¾ in (37.5 cm)
57
LIFETIME EXHIBITIONS
All sculptures are in bronze unless otherwise marked.
LES SALONS DE LA SOCIÉTÉ NATIONALE DES BEAUX-ARTS, PARIS
Hébrard’s address is given beside the year.
1904
1905
1906
1907
1908
1909
1910
1911
1912
1913
1914
21 rue Cambon, Paris
Stags (plaster), Storks (plaster), Lion and Lioness (plaster),
Madagascan Zebus (plaster)
8 rue Royale, Paris (Galerie Hébrard)
Elephant and Camel, ‘Ten Minutes’ Rest’ (wax prepared for casting),
Portrait of M.G.R. (plaster), ‘Une Bonne Branche’ (plaster)
8 rue Royale, Paris
Two Panthers, ‘Bons Amis’, The Bear Leader, Panther Eating
8 rue Royale, Paris
‘Ten Minutes’ Rest’
8 rue Royale, Paris
Group of Giraffes, Pair of Flamingos, Two Bison
8 rue Royale, Paris
Two Hinds, Portrait of a Man
8 rue Royale, Paris
Anteater, Crane (plaster)
8 rue Royale, Paris
Wrestler (plaster), Bison (plaster)
11 rue de Magdebourg, and 8 rue Royale, Paris
‘La Mère Blessée’ – pièce unique
8 rue Royale, Paris
‘La Marchande de pommes’
8 rue Royale, Paris
Moose (plaster), Two Elephants
LES SALONS D’AUTOMNE, PARIS
Rembrandt Bugatti’s address is given in every catalogue as 8 rue Royale, Galerie Hébrard, and
the bronzes are always listed as the property of Mr A. A. Hébrard.
1905
1906
1908
1910
1911
58
Cocks Fighting, Panthers, Wolf Reclining, Antelopes, Small Chinese Deer,
Stag and Hind, Hind Feeding her Fawns
Pelican, Fallow Deer Group, Goats and Ibexes, Monkey, Cat, Lion (marble)
Elephant ‘Il y arrivera’, Elephant, Lion, Crouching Jaguar, Seated Jaguar, Giraffe,
Ostrich, Valiant Tiger, Tiger Eating, Leopard, Aurochs, Group of Yaks, Marabou,
Kangaroo, Gnu, Group of Antelopes ‘Onctueuses’, Jaguar and Cub,
Antelope ‘Goudou’, Rhinoceros
Rhinoceros, Hippopotamus
Nubian Lion and Lioness, Eland, Anoa
1912
1913
1914
Group of Yaks, Goose, Merino, Secretary Bird – male, Secretary Bird – female,
Group of Hinds, Small Leopard, Group of Hinds, Jabiru
Two Donkeys
Catalogue unavailable
BIENNALE D’ARTE, VENICE
1903
1907
1909
1910
1914
Dog, Horses
Elephant, Chinese Deer, Lion Eating a Bone
‘Ten Minutes’ Rest’, Group of Zebu, Rhinoceros, Giraffe, Two Cocks, Elephant,
Horses of the Ardennes, Aurochs, Camels, ‘The Dancing Bear’, Athlete Reclining,
Two Storks, Gazelle, Pelican, Tiger Yawning, Jaguar
Diana seated with a dog, Antelope, Nude Woman (marble), Two Fawns, Large Nude
Gazelle, Elephant, Hamadryas Baboon, Deer, Antelope
GALERIE HÉBRARD, 8 RUE ROYALE, PARIS
1904–13 At least one exhibition a year was held of Bugatti’s latest works
SERRES DE L’ALMA, PARIS
1907
Salon of Italian Artists – group show
ROYAL FINE ARTS MUSEUM, BRUSSELS
1907
‘La Libre Esthétique’ – group show
JARDIN ZOOLOGIQUE D’ANVERS
1910
Exhibition of Sculpture by Rembrandt Bugatti
GOUPIL GALLERY, NEW YORK
1914
Sculpture by Rembrandt Bugatti
GRUBICY GALLERY, MILAN
1915
Exhibition of Sculpture by Rembrandt Bugatti
59
EXHIBITIONS
posthumous solo exhibitions
1920
‘Rembrandt Bugatti – Retrospective’, A. A. Hébrard, Paris.
1929
‘Exhibition of Animal Sculpture by R. Bugatti’ – Abdy & Co., London.
1932
‘Retrospective Exhibition of Twenty Bronzes’, Venice Biennale d’Arte.
1955
‘Retrospective Exhibition of the Collected Works of the Animalier sculptor Rembrandt Bugatti’,
Royal Zoological Society of Antwerp.
1965
‘Rembrandt Bugatti: Animalier Sculptor’, Galerie Paul Vallotton, Lausanne.
1966
‘Rembrandt Bugatti’, Piccadilly Gallery, London.
1967
‘Sixty Bronzes by Rembrandt Bugatti’, Galerie Samy Chalom, Paris.
1968
‘Rembrandt Bugatti: Animalier Sculptor’, Galerie le Brun, Brussels.
1973
‘Rembrandt Bugatti. François Pompon’, Salon d’Automne, Paris.
1976
‘Bugatti: Carlo, Rembrandt, Ettore’, Galleria dell’Emporio Floreale, Rome.
1979
‘Rembrandt Bugatti’, Sladmore Gallery, London.
‘The Amazing Bugattis’, Royal College of Art, London.
‘Rembrandt Bugatti 1885–1916’, Macklowe Gallery, New York.
1983
‘The Bugattis – Cars, Furniture, Bronzes, Plasters’, Museum für Kunst and Gewerbe, Hamburg.
1986
‘Carlo and Rembrandt Bugatti’, Galerie Pierre M. Dumonteil, Paris.
‘Rembrandt Bugatti, Exhibition of Sculpture’, Wildenstein, New York.
1988
‘The Bugattis of Alain Delon’, Galerie Charles and André Bailly, Paris.
‘Rembrandt Bugatti – An exhibition of sculpture’, The Sladmore Gallery, London.
1989
1990
‘Carlo, Rembrandt, Ettore, Jean Bugatti’, Seibu Collections, Tokyo, Japan.
‘Rembrandt Bugatti – and the Belgian Animal Sculptors 1860–1970’, Hessenhuis Museum,
Antwerp.
1993
‘The Bugatti Legend’, Asics Atrium, Vieri Salvadori Exhibition, Kobe.
‘Rembrandt Bugatti – Felines and Figures’, The Sladmore Gallery, London.
1995
‘Bugatti Furniture, Bugatti Sculpture, Bugatti Cars’, Galerie Beaubourg, Château de Notre-Dame
des Fleurs, Vence.
1998
‘Bugatti – Cars, Furniture and Belongings of the Family Bugatti’, Beurs van Berlage, Amsterdam.
‘Rembrandt Bugatti – An Exhibition of Twenty Bronze Sculptures’, The Sladmore Gallery, London.
1999
‘Bugatti’, Cleveland Museum of Art, Ohio.
2001
‘Rembrandt Bugatti’, Galerie Univers du Bronze, Paris.
‘Rembrandt Bugatti – Sculpture’, The Sladmore Gallery, London.
2004
‘Rembrandt Bugatti’, The Sladmore Gallery, London.
‘Rembrandt Bugatti’, James Graham Gallery, New York.
2009
‘The Bugattis – Carlo, Ettore, Rembrandt, Jean’, The National Gallery of Victoria, Melbourne,
Australia.
‘The Bugattis – A Centenary Exhibition’, Molsheim, France.
2012
‘Rembrandt Bugatti’, Frieze Masters, The Sladmore Gallery, London.
2013
‘Rembrandt Bugatti – Emotions in Bronze’, The Sladmore Gallery, London.
forthcoming exhibitions
2014
60
‘Rembrandt Bugatti’, The Nationalgalerie, Berlin.
BIBLIOGRAPHY
We are indebted to John R. Kaiser, formerly of Pennsylvania State University Libraries, for permission to use
the bibliography he compiled in 1979 as the basis for this present version.
Books on Bugatti
Dejean, Philippe, Carlo-Rembrandt-Ettore-Jean Bugatti, Rizzoli International Publications, New York, 1982
des Cordes, Jacques-Chalom and Véronique Fromanger, Rembrandt Bugatti: Catalogue Raisonné, Les Editions
de l’amateur, Paris, 1987
Fromanger, Veronique, Rembrandt Bugatti Sculpteur-Répertoire monographique, Editions de l’Amateur,
Paris 2010
Harvey, Mary, The Bronzes of Rembrandt Bugatti, Palaquin Publishing Ltd, UK, 1979
Horswell, Edward, Rembrandt Bugatti – A Brief Life, Sladmore Gallery Editions, London, 2012
Horswell, Edward, Rembrandt Bugatti – Life in Sculpture, Sladmore Gallery Editions, London, 2004
Rossi-Sacchetti, V., Rembrandt Bugatti, Sculpteur. Carlo Bugatti et son art, Imprimerie de Vaugirard,
Paris, 1907
Schiltz, Marcel, Rembrandt Bugatti, 1885–1916 (introduction by Richard Declerck), Société Royale de
Zoologie, Antwerp, 1955
Catalogues of exhibitions of Bugatti’s works
Abdy & Co.’s Gallery, London, Exhibition of Animal Sculpture by R. Bugatti, September–October 1929
Asics Atrium, Vieri Salvadori exhibition, Milan, The Bugatti Legend, 1993
Beurs van Berlage, Amsterdam, Bugatti – Cars, Furniture and Belongings of the Family Bugatti, 1998
Biennale d’Arte, Venice, Retrospective Exhibition of Twenty Bronzes, 1932
Cleveland Museum of Art, Ohio, Bugatti, 1999
Galerie Beaubourg, Château de Notre-Dame des Fleurs, Vence, Bugatti Furniture, Bugatti Sculpture, Bugatti
Cars, 1995
Galerie le Brun, Brussels, Rembrandt Bugatti 1885–1916: Animalier sculptor, 10 December 1967 to
10 January 1968 (with illustrated essay by L’Ecuyer)
Galerie Charles and André Bailly, Paris, The Bugattis of Alain Delon, 1988
Galerie Paul Vallotton, Lausanne, Rembrandt Bugatti 1885–1916: Animalier sculptor, 6–29 May 1965
Galerie Pierre M. Dumonteil, Paris, Carlo and Rembrandt Bugatti, 1986
Galerie Samy Chalom, Paris, Sixty Bronzes by Rembrandt Bugatti, May 1967 (with illustrated essay by Gerald
Schurr)
Galerie Univers du Bronze, Paris, Rembrandt Bugatti, 2001
Galleria dell’Emporio Floreale, Rome, Bugatti: Carlo, Rembrandt, Ettore. I Mobili, I Soprammobili, Le
Automobili, 1976 (with illustrated essay on Rembrandt Bugatti by Umberto Di Christina)
Hessenhuis Museum, Antwerp, Rembrandt Bugatti and the Belgian Animal Sculptors 1860–1970, 1990
James Graham Gallery, New York, Rembrandt Bugatti, 2004
Macklowe Gallery, New York, Rembrandt Bugatti 1885–1916, 1979
Museum für Kunst und Gewerbe, Hamburg, The Bugattis – Cars, Furniture, Bronzes, Plasters, 1983
National Gallery of Victoria, Melbourne, Australia, The Bugattis – Carlo, Ettore, Rembrandt, Jean, 2009
Piccadilly Gallery, London, Rembrandt Bugatti, 1966
Royal College of Art, London, The Amazing Bugattis (works of Carlo, Ettore, Rembrandt and Jean), promoted
by The Observer and Moët & Chandon, 8 October to 18 November 1979
62
Royal Zoological Society of Antwerp, Retrospective Exhibition of the Collected Works of the Animalier
sculptor Rembrandt Bugatti, Salle des Marbres, 15 July to 2 August 1955 (with illustrated essay by
Walter Van den bergh)
Salon d’Automne, Paris, Rembrandt Bugatti. François Pompon: Grand Palais des Champs-Élysées, 17 October
to 19 November 1973 (with illustrated essay on Bugatti by Gerald Schurr)
Seibu Collections, Tokyo, Carlo, Rembrandt, Ettore, Jean Bugatti, 1989
Sladmore Gallery, London, Rembrandt Bugatti: An exhibition of sculpture, 1988
Sladmore Gallery, London, Rembrandt Bugatti ‘Felines and Figures’, 1993
Sladmore Gallery, London, Rembrandt Bugatti – An Exhibition of Twenty Bronze Sculptures, 1998
Sladmore Gallery, London, Rembrandt Bugatti, 2004
Sladmore Gallery, London, Rembrandt Bugatti – Emotions in Bronze, 2013
Catalogues of exhibitions including Bugatti’s works
Biennale d’Arte, Venice, Premiato Stabilimento di Carlo Ferrari, (various titles), 1903, 1907, 1909, 1910, 1914
Biennale d’Arte, Venice, Premiate Officine Carlo Ferrari, 1932 (with illustrated essay on Bugatti by Raffaele
Calzini: ‘Mostra Individuale Retrospettiva di Rembrandt Bugatti’)
Château de Vascoeuil, Rouen, 20th Century Bronzes of the Valsuani Foundry, 28 May to 2 October 1977
Château de Maisons, Maisons-Laffitte, Horses in Bronze, 2001
Clarke Galleries, Stowe, Vermont, IV Centuries of Birds in Paintings, Sculpture and Fine Prints, 2004
Connaught Brown, London, The Year of the Horse, 2002
Galerie La Cymaise, Paris, The Hunt in Bronze, 2001
Galerie Paul Ambroise, Paris, A Century of Animalier Bronzes, 1875–1975, March–April 1975 (with
illustrated essay on Bugatti)
Georgia Museum of Art, University of Georgia, Animals in Bronze: The Michael and Mary Erlanger Collection
of Animalier Bronzes, 1996
Hayward Gallery, London, Pioneers of modern sculpture, 20 July to 23 September 1973
Karsten Schubert Gallery, London, and Frith Street Gallery, London, From Figures to Object: A Century of
Sculptors’ Drawings, 1996
Lefevre Fine Art, London, New Acquisitions, 2003
Maxwell Gallery Ltd, San Francisco, Les Animaliers, 11–29 June 1974
Musée d’Art Moderne de la Ville de Paris, L’Ecole de Paris, 1904–1929, 2000
Musée des Arts Décoratifs de Bordeaux, Barye and Pompon – Homage to the Cruse-Guestier Bequest, 2002
Musée de la Monnaie, Paris, Sculptors and the Animal in 20th Century Art, 1999
Fine Arts Museum, Ostend, Europe 1900: Paintings, Drawings, Sculptures, Jewellery, 3 June to 30 September
1967
Philadelphia Museum of Art Bulletin, The Samuel S. White 3rd and Vera White Collection, Vol. 63,
Nos. 296–297, January–March and April–June 1968, pp. 72–147
Piccadilly Gallery, London, Sculpture: Rembrandt Bugatti 1885–1916, 19 April to 14 May 1966 (with
illustrated essay on Bugatti)
Rome, Mostra Internazionale di Belle Arti, 1923
Salon d’Automne, Paris, Catalogue of paintings, sculpture exhibited at the Grand Palais des Champs-Élysées,
(various titles), 1905, 1906, 1908, 1910, 1911, 1912, 1913
Salon, Société Nationale des Beaux-Arts, Paris, Catalogue of paintings, sculpture exhibited at the Grand Palais,
(various titles), annually 1904–14
63
Sladmore Gallery, London, Barye to Bugatti: French animal sculpture by Les Animaliers, 1969
Sladmore Gallery, London, The Horse in Bronze, 17 September to 17 October 1969 (two Bugatti pieces were
shown at this exhibition, although they are not listed in the catalogue)
Sladmore Gallery, London, The Dog in Bronze, February 1970
Sladmore Gallery, London, The World’s Wildlife in 19th and 20th Century Painting and Sculpture,
12 November to 12 December 1970
Sladmore Gallery, London, Two Centuries of Animal Sculpture: 19th and 20th Century, 24 July to
1 August 1971
Sladmore Gallery, London, The Horse in Bronze, 1832–1973, 21 March to 7 April 1973
Sladmore Gallery, Johannesburg, Two Centuries of Animal Art, November 1974
Sladmore Gallery, Johannesburg, Sporting Paintings and Sculpture, 14–30 May 1975
Sladmore Gallery, London, Animalier Sculpture for the Collector, 11–28 June 1975
Sladmore Gallery, London, Les Animaliers III: 150 years of Animal Sculpture, 5–29 May 1976 (with illustrated
essay on Bugatti)
Sladmore Gallery, London, Summer Exhibition, June–July 1986
Sladmore Gallery, London, European Sculpture – Romantic to Modern, summer 1994
Sladmore Gallery, London, Summer Exhibition, 12 June to 26 July 1996
Sladmore Gallery, London, 200 Years of The Horse in Bronze, 9 May to 30 June 2000
Sladmore Gallery, London, Annual Exhibition, 2002
Sladmore Gallery, London, Annual Exhibition, 2010
Stoppenbach & Delestre, London, Tribute to A. A. Hébrard, 1982
Articles on Bugatti published during his lifetime
A., P., ‘Expositions et Concours: Rembrandt Bugatti’, Bulletin de l’art ancien et moderne, 1904, p. 197 (on
exhibition at Galerie A. A. Hébrard, Paris)
Arata, Giulio U., ‘Un grande interprete della fauna: Rembrandt Bugatti’, Vita d’arte, Anno 8, Vol. 1, August
1915, pp. 157–63 (illus.)
‘The Bronzes of Bugatti’, American Art News, Vol. 12, No. 28, 18 April 1914, p. 3 (on exhibition at the Goupil
Gallery, New York)
‘Exposition du mois: Rembrandt Bugatti’, Art Décoratif, Vol. 2 (?), 1904, p. 41 (illus.)
G., M., ‘Exposition Rembrandt Bugatti’, L’Art et les Artistes, Vol. 5, April–September 1907, p. 171
Horteloup, Marcel, ‘An Italian sculptor – Rembrandt Bugatti’, Studio International, Vol. 29, Nos. 113–16,
July–October 1906, pp. 23–6 (illus.)
Jamot, Paul, ‘Exposition Rembrandt Bugatti’, Chronique des Arts et de la Curiosité (supplement to Gazette des
Beaux-Arts), 1907, p. 188 (on exhibition at Galerie A. A. Hébrard, Paris)
M., F., ‘Le Mois Artistique: exposition privée de Rembrandt Bugatti’, L’Art et les Artistes, Vol. 7, August 1908
(illus.; on exhibition at Galerie A. A. Hébrard, Paris)
‘On exhibition, Goupil Gallery. Sculpture by Rembrandt Busati’ [sic], American Art News, Vol. 12, No. 27,
11 April 1914, p. 3
Salmon, André, ‘Rembrand [sic] Bugatti’, Art et Décoration, Vol. 34, November 1913, pp. 157–64 (illus.)
Sedeyn, Emile, ‘Rembrandt Bugatti’, Art Décoratif, Vol. 12, July–December 1904, pp. 61–6 (illus.; on
exhibition at Galerie A. A. Hébrard, Paris)
Urata, Giulio V., ‘Rembrandt Bugatti’, Pagine d’Arte, Vol. 3, No. 2, 1916, pp. 10–11 (photograph of Rembrandt
Bugatti)
64
Selected articles on Bugatti published after his death
Alexandre, Arsène, ‘Les Sculpteurs à l’Exposition’, Renaissance de l’Art Français et des Industries de Luxe,
Vol. 8, 1925, p. 443 (illus.)
Art and Artists, London, May 1966 (illus.; on exhibition at the Piccadilly Gallery, London)
‘Art Exhibitions: Animal Sculpture’, The Times, London, 28 September 1929, p. 10 (on exhibition at the Abdy
Gallery, London)
C., M., ‘Animal Sculpture: an exhibition of Bugatti’s work’, Country Life, Vol. 66, No. 1708, 12 October 1929,
pp. 480–82 (illus.; on exhibition at the Abdy Gallery, London)
‘Les Cours: Les Bronzes de Bugatti stabilisent leurs prix’, Connaissance des Arts, No. 308, October 1977,
p. 125 (illus.)
Dean, Martin, ‘The Other Bugatti’, Bugantics, Vol. 35, No. 1, spring 1972, pp. 16–19 (illus.)
Earp, T. W., ‘Current events in the Art World: An Animal Sculptor’, Creative Art, Vol. 5, July–December 1929,
pp. 898–9 (on exhibition at the Abdy Gallery, London)
Grioni, John S., ‘Rembrandt Bugatti, un grand Animalier’, Antichita Viva, Vol. 12, No. 1, 1973, pp. 35–40
(illus.)
Jeannerat, Pierre, Art, London, 21 April 1966 (on exhibition at the Piccadilly Gallery, London)
Jewish Chronicle, London, 6 May 1966 (on exhibition at the Piccadilly Gallery, London)
Mullaly, Terence, ‘Bugatti animals rank with best bronzes’, Daily Telegraph, London, 21 April 1966, p. 21 (illus.;
on exhibition at the Piccadilly Gallery, London)
Obituary notice, ‘Rembrandt Bugatti’, American Art News, Vol. 14, No. 15, 15 January 1916, p. 4
Obituary notice, Illustrazione Italiana, 16 June 1916, p. 63
‘The Other Bugatti’, Evening Standard, London, 7 April 1966 (illus.; on exhibition at the Piccadilly Gallery,
London)
Parkes, Kineton, ‘Rembrandt Bugatti: Modeller of animals. Exhibition of Bronzes at the Abdy Galleries’, Apollo,
London, Vol. 10, No. 59, November 1929, pp. 312–13 (illus.)
Peignot, Jérôme, ‘Bugatti’, Connaissances des Arts, No. 185, July 1967, pp. 85–7 (illus.)
de Rudder, Jean-Luc, ‘Rembrandt Bugatti: Les bronzes d’un jeune homme triste admiré par Rodin’,
L’Estampille, No. 39, February 1973, pp. 38–41 (illus.)
Schurr, Gerald, ‘Continental Dispatch. An Italian Sculptor in Paris’, Connoisseur, Vol. 165, No. 665, July 1967,
p. 188 (illus.; on exhibition at Galerie Samy Chalom, Paris)
Thiebault-Sisson, François, ‘Art et Curiosité: L’animalier Bugatti’, Le Temps, Paris, 3 June 1920, pp. 2–3
(on exhibition at Galerie A. A. Hébrard, Paris)
Wykes-Joyce, Max, ‘Bugatti–Kubin’, Arts Review, London, 16 April 1966 (illus.; on exhibition at the Piccadilly
Gallery, London)
Wynne-Morgan, John, ‘If I could raise the odd £550’, Sun, London, 10 May 1966 (illus.; on exhibition at the
Piccadilly Gallery, London)
References to Bugatti and his times in books and periodicals
B., V., ‘Dix ans d’acquisitions au département des Sculptures (1967–1977)’, Revue du Louvre et des Musées
de France, No. 2, 1977, p. 102 (on gift of works by Bugatti to the Louvre Museum, Paris, by Mlle. Bugatti)
Baratay, Eric, and Elizabeth Hardouin-Fugier, Zoo – A History of Zoological Gardens in the West, Reaktion
Books, London, 2002, p. 220
Bénezit, Emmanuel, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs de
tous les temps et de tous les pays, Librairies Grund, Paris, 1976, vol. II, p. 383
Bradley, William Fletcher, Ettore Bugatti; a biography, Motor Racing Publications, Abingdon, Berkshire, 1948
Bugatti, L’Ebé, (translated from French by Len Ortzen), The Bugatti Story, Souvenir Press, London, 1967
Chazades, Joseph, ‘Marché des Arts. Bronzes. Animaliers’, L’Oeil, No. 239, June 1975, pp. 76–7 (illus.; on
exhibition at the Galerie Paul Ambroise, Paris)
65
Conway, Hugh Graham, Bugatti: le pur-sang des automobiles, revised edn, G. T. Foulis & Co. Ltd, Henley on
Thames, Oxfordshire, 1968 (illus.)
‘Cronaca delle Belle Arti’, Bollettino d’Arte, Anno 3 (Serie 2), Fasc. 10, April 1924, pp. 479–80 (illus.; on gift of
Bugatti sculptures by A. A. Hébrard to the Gallery of Modern Art, Rome)
Davis, Frank, ‘Talking About Salerooms. Animal movement captured in bronze’, Country Life, Vol. 159, No.
4109, 1 April 1976, p. 802 (illus.; on Christie’s sale of Modern and Contemporary Pictures and Drawings
and Sculpture)
Edouard-Joseph, René, Dictionnaire biographique des artistes contemporains, 1910–1930, Art et édition,
Paris, 1930–34, Vol. I, p. 16
‘Expositions’, Renaissance de l’Art Français et des Industries De Luxe, Vol. 6, 1923, p. 67 (on exhibition at
Galerie A. A. Hébrard, Paris)
Fleres, U., ‘Nuovi acquisti della Galleria di Arte Moderna’, Bollettino d’Arte, Anno 3 (Serie 2), Fasc. 11,
November 1909, pp. 433–5
Ghisalberti, Alberto M., (ed.), Dizionario biografico degli Italiani, Istituto della Enciclopedia Italiana, Rome,
1960, Vol. XV, pp. 12–14 (bibliography)
Hall, Douglas, ‘Acquisitions of Modern Art by Museums. Edinburgh Scottish National Gallery of Modern Art’,
Burlington Magazine, Vol. 115, No. 842, May 1973, p. 349 (illus.)
Hamel, Maurice, ‘Salon d’Automne’, Les Arts, Vol. 10, No. 119, November 1911, pp. 23–9 (illus.)
Haslem, Malcolm, ‘The Bugattis’, Art at Auction: the year at Sotheby’s & Parke-Bernet, 1973–4, 240th season,
Viking Press, New York, 1974, pp. 447–55 (illus.)
Kruyfhoort, Cecile, ‘30 ans de Prix Rembrandt‚ pour sculpteurs animaliers (1947–1977)’, Zoo d’Anvers, No. 4,
April 1978, pp. 103–105
Lebon, Elisabeth, Dictionnaire des Fondeurs de Bronze d’Art, France 1890–1950, Marjon Editions, Perth,
Australia, 2003, pp. 183–6
Lesieutre, Alain, The Spirit and Splendour of Art Deco, Paddington Press, Two Continents Publishing Group,
New York, 1974 (illus.)
Lucie-Smith, Edward, ‘London Commentary. Artists of their generation’, Studio International, Vol. 171, No.
876, April 1966, pp. 157–9 (illus.; on exhibition at the Piccadilly Gallery, London)
Mackay, James Alexander, The Animaliers; a collector’s guide to the animal sculptors of the 19th & 20th
centuries, Dutton, New York, 1973, pp. 7, 19, 88, 97–100, 124 & 125 (illus.)
Major, J., Petites Expositions. La Chronique des Arts et de la Curiosité (supplement to Gazette des Beaux-Arts),
1920, p. 105 (on exhibition at Galerie A. A. Hébrard, Paris)
‘Nouvelles acquisitions. Les récentes acquisitions des musées nationaux. Musée du Louvre’, Revue du Louvre
et des Musées de France, No. 3, 1976, p. 221 (illus.; on gifts of plaster for ‘L’Ours’ to the Louvre Museum,
Paris, by Mlle. Bugatti)
Schurr, Gerald, ‘Art dispatch from Europe. Paris. Two great Animal Sculptors’, Connoisseur, Vol. 184, No. 741,
November 1973, p. 215 (illus.; on exhibition at the Salon d’Automne, Paris)
Thieme, Ulrich, Allgemeines lexicon der bildenden Kunstler von der anitke bis zur gegenwart, E. A. Seemann,
Leipzig, 1911, Vol. V, p. 206 (bibliography)
Van Loock-Verberckmoes, Hilda, and Frans Mertens, Geillustreerd Inventaris van het kunstpatrimonium,
15 March 1975, Koninklijke Maaschappy voor Dierkunde, Antwerp (illus.)
‘XXe siècle’, Revue du Louvre et des Musées de France, Nos. 5–6, 1976, p. 429 (illus.; on gift of six plasters to
the Musée d’Art Moderne, Strasbourg, by Mlle. Bugatti)
Vitry, Paul, ‘La Sculpture aux Salons’, Art et Décoration, Vol. 18, July–December 1905, pp. 14–24 (illus.)
Vitry, Paul, ‘La Sculpture aux Salons’, Art et Décoration, Vol. 20, July–December 1906, pp. 20–32 (illus.)
Vollmer, Hans, Allegemeines Lexikon der bildenden Kunstler des XX Jahrhunderts, E. A. Seemann, Leipzig,
1953, Vol. I, p. 348 (bibliography)
Young, Louisa, A Great Task of Happiness: The Life of Kathleen Scott, Papermac, London, 21 June 1996
66
ACKNOWLEDGEMENTS
Firstly I would like to thank India Jane Birley, Marie and David Cooper, the National Arts Program,
Bianca and Stuart Roden and those others who wish to remain anonymous who have all generously
agreed to lend their sculptures, many of which have not been exhibited recently. Without their
help this exhibition would not have been possible.
Both William Packer and Rungwe Kingdon responded enthusiastically to my request that they each
write an essay for this catalogue. They are both well placed to do so, William with his wide art
knowledge, and Rungwe with his casting expertise and his understanding of animal behaviour,
gained during his youth in Africa while working alongside his father, the renowned zoologist
Jonathan Kingdon.
The bulk of the photography has been specially commissioned for this exhibition, and I am indebted
to Steve Russell for his modern, clean approach and particularly for his captivating details. Further
thanks go to Amanda Brookes for her design, Paul Forty for editing the text, Peter John Gates for
the balance of the photography, and finally all the Sladmore team.
67
The Sladmore, founded in 1965, is today one of the world’s leading art
galleries. We specialise in the sale of fine bronze sculpture and have
two galleries and a sculpture garden, all in the centre of London.
In our Jermyn Street gallery, just off Piccadilly, important bronzes by
Edward Horswell
Auguste Rodin, Aristide Maillol, Edgar Degas, Rembrandt Bugatti and
Sladmore Gallery
Antoine-Louis Barye are always on display. In addition, we continue to
57 Jermyn Street, St James’s
stock a fine selection of works by other leading animalier sculptors of
London SW1Y 6LX
the 19th and early 20th centuries. An active publishing programme of
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exhibition catalogues and monographs is also an important part of the
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Our Bruton Place gallery, off Berkeley Square, carries a large stock of
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bronzes by sculptors working today. We represent a number of leading
Sladmore Contemporary
contemporary artists including Mark Coreth, Geoffrey Dashwood, Sophie
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Dickens and Nic Fiddian-Green. A select programme of exhibitions and
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events takes place at both galleries.
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The addition of a private sculpture garden beside the British Museum
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from maquette to monumental in scale. We can supply from stock and
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