Camille Claudel (1856-1920)
Camille Claudel (1856-1920)
Camille Claudel (1856-1920)
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Camille Claudel (1856-1920)
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Camille Claudel (1864-1943)

Rêve au coin du feu or Femme assise devant une cheminée

Camille Claudel (1864-1943)
Rêve au coin du feu or Femme assise devant une cheminée
signed, stamped with the foundry mark and numbered 'C. CLAUDEL EUG. BLOT PARIS 23' (on the top of the base)
onyx and bronze with brown patina
Height: 8 7/8 in. (22.5 cm.)
Length: 12 in. (30.7 cm.)
Depth: 9 3/4 in. (24.5 cm.)
Conceived in 1899 and cast by Blot in 1905 in marble or onyx with bronze in an edition of 65; this cast is only the seventh known example from the edition of 65, and only the second known onyx and bronze version
Colonel Farley Berman, Alabama.
Private collection, USA, acquired from the above in 1985 and thence by descent.
Acquired from the above by the present owner.
E. Dacier, Bulletin de l'art ancien et moderne, 9 December 1905.
L. T., 'Les expositions. Deux sculpteurs' in Psyché, Paris, vol. I, no. 2, March - April 1906, p. 104.
A. Rivière, L'Interdite, Camille Claudel 1864-1943, Paris, 1983, no. 45, p. 78.
B. Gaudichon, "Catalogue raisonné de l'oeuvre sculpté, peint et grave ...", in exh. cat., Camille Claudel, Paris, 1984, no. 95b, p. 121 (the marble version illustrated p. 81).
J. Boly, 'Camille Claudel, état des recherches et du rayonnement,' in Société Paul Claudel en Belgique, 1989, p. 49.
R.-M. Paris & A. de La Chapelle, L'oeuvre de Camille Claudel, Catalogue raisonné, Paris, 1991, no. 56, pp. 189-190 (the marble version illustrated p. 189).
G. Bouté, Camille Claudel, Le miroir et la nuit, Turin, 1995, p. 231 (another cast illustrated pp. 199-201 ).
Anon. 'Les cris et les silences d'un sculpteur de génie', in Oxygène (La Lettre d'Aulnay), January 1996, n.p. (another cast illustrated).
A. Rivière, B. Gaudichon & D. Ghanassia, Camille Claudel, Catalogue raisonné, Paris, 1996, no. 59.4, pp. 148-149 (the marble version illustrated p. 149).
A. Rivière, B. Gaudichon & D. Ghanassia, Camille Claudel, Catalogue raisonné, Paris, 2001, no. 61.4, pp. 177-179 (marble versions illustrated pp. 177 & 179).
R.-M. Paris, Camille Claudel re-trouvée, Catalogue raisonné, Paris, 2004, pp. 411-412 (another cast illustrated p. 413).
R.-M. Paris & P. Cressent, Camille Claudel, Complete Work, Paris, 2014, no. 280, p. 571 (other versions illustrated pp. 562, 564, 566 & 570).
Special notice
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Lot Essay

Reine-Marie Paris has confirmed the authenticity of this work.

Camille Claudel was interested in creating sculptures that represented the rituals of everyday life; she called them croquis d’après nature. In Rêve au coin du feu, the choice of a woman seated on a stool, in front of a chimney as the subject for a sculpture was a remarkably modern statement in 1899 when she first conceived it, and she portrayed it with a uniquely feminine sensibility. ‘The female form [of Rêve au coin du feu] is one of the most beautiful subjects ever moulded by the hand of the sculptor. As is always the case with Claudel, she expresses a vivid inner movement: the joined knees, the tension in the legs, [and] the curve of the back' (A.M Paris & A. de la Chapelle, L’oeuvre de Camille Claudel, Catalogue Raisonné, nouvelle édition revue et complète, Paris, 1991, p. 201).

Also titled Au coin de l’âtre or Femme assise devant une cheminée, Rêve au coin du feu was originally intended to be executed in an edition of 65 in marble/onyx and bronze. The plaster of the work, presented at the World Exposition of 1900, is undoubtedly the starting point of the bronze that Blot cast in 65 copies (the biggest edition for any Claudel bronzes). Today, it is unknown whether the entire edition was cast by Blot in the combination of onyx and marble and bronze or if some were made exclusively in bronze. It is nevertheless very likely that, like the other croquis d’après nature studies, this group always had a metallic character and a mineral decoration.

This cast in bronze and onyx was once owned by Col. Farley Berman and was in the Berman Museum of World History in Alabama for decades on extended loan.

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