Two outstanding lots illuminated the sale in Bordeaux; a moving bronze by the tormented sculptress, and the triumphant effigy of a great lady portrayed by Rigaud, finally preempted.
Camille Claudel (1864-1943), L'Implorante, bronze with green-nuanced patina, signed, stamp of Eugène Blot and no. 48 (of 59), 28.5 x 25 x 16.5 cm (approximately 11 x 9.8 x 6,5 in).
L’Implorante (The Implorer), one of Camille Claudel's most famous works, dates from the 1890s. This woman stretching out her arms in a despairing gesture was originally part of a group entitled L'Âge Mûr (The Age of Maturity), which symbolized the conflictual relations between the sculptress and her lover, Auguste Rodin. This stand-alone version (number 48) was edited by Eugène Bloti in 1905, and probably belongs to the series of fifty-nine proofs reduced to 11.5 in. Here, L'Implorante obtained €202,950. Second place in the dazzling results of this sale went to another female figure. Here we are certainly looking at Charlotte de Fleury de La Jonchère (1692-1757), lording it in a gilt chair, decked out in a splendid silk dress with marvelously rendered reflections and a curling wig. The lady was identified, like the creator of her portrait, Hyacinthe Rigaud, after in-depth research by the master's official specialist, Stéphan Perreau. The model, whose parents were both Paris actors, made a fine match in marrying Gérard Michel de La Jonchère (1673-1750), Treasurer of the Extra-ordinary of Wars in 1711, and became a prominent figure in the capital's salons. This magnificent work had every right to be in a public institution, and this will continue when it joins similar paintings in the Musée Rigaud in Perpignan (the artist's native city), for which it was preempted at €123,000.