Lucien SCHNEGG ( 1867 - 1909 )
LA JEUNE HEAULMIÈRE
Salon S.N.B.A 1905 (bronze)
Bronze, richly dark brown patina.
H : 42,4 cm, L : 13,7 cm, D : 12,6 cm
Authentic example signed « Lucien Schnegg », family edition, « Lamy cire perdue » foundry seal; only example identified with the one at the Musée d'Orsay.
Circa 1935-1950
About the artist :
ELLIOTT Patrick, "Lucien Schnegg" in After Rodin. French figurative sculpture 1900-1940 from the Marjon Collection, England, Marjon Editions/Beacon Press,2013, pp. 171-175.
About the founder :
LEBON Elisabeth, "Lamy" in Dictionnaire des fondeurs de bronze d’art : France 1890-1950. Perth, Marjon Editions, 2003, p. 196.
ELLIOTT Patrick, "Lucien Schnegg" in After Rodin. French figurative sculpture 1900-1940 from the Marjon Collection, England, Marjon Editions/Beacon Press,2013, pp. 171-175.
About the founder :
LEBON Elisabeth, "Lamy" in Dictionnaire des fondeurs de bronze d’art : France 1890-1950. Perth, Marjon Editions, 2003, p. 196.
Was the "Young Heaulmière" a reaction against "The one who was the beautiful Heaulmière" whom
his former master had immortalised twenty years earlier ?
Indeed, the subject that had already inspired Jules Desbois la Misère and Camille Claudel Clotho, again inspires the young artist who brings to life the poem of François Villon not in the guise of a young girl or an old person, but of a woman between two ages, styled in 1900 fashion, half-modest, half-offered, waiting for the pleasure she will offer herself. It is not known whether the model was the daughter of Marna Clarie who posed for the other sculptors or if Schnegg simply took up the title that his peers had illustrated before him: the Musée d’Orsay keeps an example of this very rare work in bronze (R.F. 3301/17M589) Schnegg, who was not very rich, made mainly plaster sculptures, even at the various salons where he exhibited. He did not work for the edition and his models are therefore very rare in the market
his former master had immortalised twenty years earlier ?
Indeed, the subject that had already inspired Jules Desbois la Misère and Camille Claudel Clotho, again inspires the young artist who brings to life the poem of François Villon not in the guise of a young girl or an old person, but of a woman between two ages, styled in 1900 fashion, half-modest, half-offered, waiting for the pleasure she will offer herself. It is not known whether the model was the daughter of Marna Clarie who posed for the other sculptors or if Schnegg simply took up the title that his peers had illustrated before him: the Musée d’Orsay keeps an example of this very rare work in bronze (R.F. 3301/17M589) Schnegg, who was not very rich, made mainly plaster sculptures, even at the various salons where he exhibited. He did not work for the edition and his models are therefore very rare in the market
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