Rembrandt Bugatti

Michael Henry Irving (descendant of Eleuthère Irénée du Pont and Washington Irving)
Thence by descent

Biennale di Venezia, VIII Esposizione Internazionale d'Arte della Città di Venezia, Venice, Italy, 1909

VIII Esposizione Internazionale d'Arte della Città di Venezia 1909, Catalogo Illustrato, Venice, 1909, p. 124 (for a documented list of bronze sculptures exhibited by Bugatti at the 1909 Venice Biennale)
Mary Harvey, The Bronzes of Rembrandt Bugatti (1885-1916):  An Illustrated Catalogue and Biography, London, 1979, p. 64 (for the "petit modèle")
Philippe Dejean, Bugatti:  Carlo, Rembrandt, Ettore, Jean, New York, 1982, p. 190 (for the "petit modèle")
Jacques-Chalom des Cordes and Véronique Fromanger des Cordes, Rembrandt Bugatti, catalogue raisonné, Paris, 1987, pp. 186-187 (for the "petit modèle" and the plaster model of "Deux Girafes")
Edward Horswell, Rembrandt Bugatti:  Life in Sculpture, London, 2004, p. 21 (for the "petit modèle")

Overall in very good condition. The bronze surfaces with a few occasional light surface scratches and gentle rubbing to the patina consistent with age. There are traces of surface soiling in the recessed areas of the sculpture and base, most notably at the juncture of the giraffe's hind legs and on the base surrounding the giraffe's feet. There are a few scattered traces of minor surface discoloration (very small blackish spots) on the animals back, and some slightly larger areas of surface discoloration on the base which all appear to be surface residue on top of the patina. The bronze surfaces have not been treated in many years, and would benefit from a sensitive cleaning and wax application. As seen in the catalogue illustration, one of the two original exhibition paper labels has a small loss at the corner. Both paper labels affixed to the underbase are lifting slightly, and would benefit from being secured with a protective archival covering. The rich brown green patina shows great color and depth, and is much more robust than in the catalogue illustrations. The giraffe presents beautifully in person, and has an incredibly engaging and captivating presence. The piece is very three-dimensional, and is best appreciated when viewed in person in order to experience this wonderful work from all angles.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This provocative sculpture, known as the “Drinking Giraffe,” was executed by Rembrandt Bugatti in two sizes.  Distinguished by its commanding scale, this giraffe represents the rare “grand modèle.”  It is numbered one of only three bronze casts known to have been executed in this monumental size.  Approximately twenty bronze casts of this giraffe were executed by Hébrard in a “petit modèle.”  Standing just over six inches tall, the smaller model is comparatively diminutive in scale.   

Synonymous with Bugatti’s early repertoire, this spectacular model is highly evocative and engaging.  Bugatti appears to have captured the giraffe in a spontaneous fleeting moment.  The subtle yet intentional curvature of the base suggests the animal is standing at the edge of a watering hole, staring intently at a subject that has caught its attention while drinking.  Bugatti has masterfully captured the reflex posture of the giraffe, most notably in the articulation of its overlapping hind legs and outstretched neck.      

In 1907, Bugatti executed a monumental plaster model entitled "Deux Girafes,"  which now resides in the collection of the Musée d’Orsay.  Two giraffes stand on one integral base, one with its neck held vertically upright, the other with its neck extended forward, standing in a similar posture to the giraffe offered here.  Only one bronze cast was executed by Hébrard, which is evidenced by the engraved inscription on the base, “pièce unique.”  Hébrard most likely cast a limited series of “Girafe en Train de Boire” shortly thereafter the execution of “Deux Girafes,” further defining several details to the model.  For instance, the single model displays a greater exaggeration to the angle of the splayed front legs, and the hind legs which subtly overlap are in a more complex and ambitious configuration. 

The giraffe presently offered was exhibited by Bugatti in 1909 at the Venice Biennale.  The sculpture remarkably retains two large paper labels on the underbase from this exposition.  An Italian publication from the period documents that Bugatti presented sixteen sculptures in “sala 31” and “sala 32” at the 1909 Biennale, including a “Giraffa.” 

The 1909 exhibition provenance pertaining to the first cast of this model is further documented in the Rembrandt Bugatti Archives. Additionally, Louis Comfort Tiffany is recorded to have acquired the second and third casts of this model.  The second cast was later acquired by Dr. Arthur R. Metz, a prolific collector of animalier sculpture.  The giraffe was gifted by The Metz Foundation to the Indiana University Art Museum in 1994.  No information is presently known regarding the whereabouts of the third cast following Tiffany’s ownership.  This offering represents this rare model’s debut on the auction market and presents the collecting community with an extraordinary opportunity to acquire one of Bugatti’s truly great works. 

Sotheby’s wishes to thank Véronique Fromanger for her research assistance in cataloguing the Bugatti sculptures offered in this sale.