Rembrandt Bugatti

Gallery Grandes Époques, Geneva
Acquired from the above by the present owner in 1976

Nadine Coleno & Uwe Hucke, Carlo Rembrandt Ettore Jean Bugatti, Paris, 1981, n.n., illustration of another cast p. 160
Jacques-Chalom Des Cordes & Véronique Fromanger Des Cordes, Rembrandt Bugatti, Catalogue raisonné, Les Éditions de L'Amateur, Paris, 1987, n.n., illustration of another cast p. 45
Edward Horswell, Rembrandt Bugatti, Life in Sculpture, London, 2004, n.n., illustration of another cast p. 17 & pp. 170-71
Véronique Fromanger, Rembrandt Bugatti, Repertoire monographique, Sculpteur, Une trajectoire foudroyante, Paris, 2010, no. 71, illustration of another cast p.p. 78 & 263 and on the cover

Beautifully rich dark brown and black patina. Apart from some very light wear to some of the protruding areas consistent with age and handling, and some dust in the crevices, this work is in very good condition.
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Majestic, dominant and brooding, Rembrandt Bugatti’s cast of the Panthère marchant is a magnificent exposition of pure, animalistic power. The individual nuances of the panther’s figure are represented with a fastidious attention to detail, revealing the sculptor’s true affinity with his subject.  A testament to Bugatti’s ability, the bronze comes alive with a lithe grace and sense of movement. The sculptor captures the low sling of the animal’s back and the gentle swing of its hips as the panther prowls. A latent ferocity is subtly encapsulated in the meticulously crafted musculature and intensity of the subject’s gaze, reflecting the unmistakable and individual character of the animal. Bugatti’s working methods were remarked on by all who had the opportunity to witness them because ‘for as long as it took – days, sometimes weeks, he would observe and get to know his subject. Then he worked at great speed, modelling in clay or plastilene (a non-drying compound of clay dust and wax) on wire armatures’ (Edward Horswell, Rembrandt Bugatti, Life in Sculpture, London, 2004, p. 69). Always choosing to work in direct contact with the animals the sculptor succeeds in capturing ‘the perpetual motion of life itself’ (ibid., p. 75).

This model was cast in the foundry of Adrien Hébrard, a key mentor and supporter of Bugatti, who also cast works by artists including Edgar Degas and Auguste Rodin. The quality of the cast is evident and it is clear why ‘the casting is one of the attractions which makes Rembrandt Bugatti’s sculptures so precious in the eyes of many collectors. Indeed, it is the perfection in the translation of detail, the slightest quiver is espoused by the molten metal, and there is the richness and warmth of the patina and its generally dark quality which was desired by the artist’ (Phillipe Dejean, Bugatti, Carlo-Rembrandt-Ettore-Jean, Paris, 1981, p. 138).

Bugatti was from a family of successful artists whose creative legacy can be traced back centuries. His father Carlo was known for his exotic and fanciful furniture, metalwork and musical instruments, whilst his brother Ettore made the name Bugatti synonymous with beautifully designed automobiles. Panthère marchant is a true encapsulation of Bugatti’s unique spirit, passion for rendering movement and unquestionable technical ability, with his work standing tall alongside the other achievements within his remarkable family.