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Lot Essay
Né en Suisse, le sculpteur Édouard Marcel Sandoz (1881-1971) s’essaye avec succès à tous les supports, capturant l'homme et l’animal dans la pierre, la céramique et le bois. La révélation de sa vocation artistique lui vient en 1900 lors de la visite de l’Exposition universelle de Paris : il convainc alors sa famille de le laisser étudier la sculpture et la céramique à l’École des Arts Industriels de Genève où il remporte à deux reprises le Premier Prix de la céramique. Sandoz se rend ensuite à Paris en 1904 afin d’y intégrer l'École Nationale des Beaux-Arts. Bien qu’il se saisisse de tous les sujets, c’est la sculpture animalière qui a sa préférence et prend à partir de 1915 une place prépondérante dans son oeuvre. En 1933, il crée la Société Française des Animaliers. Ses représentations sensibles de la vie animale le rendent vite célèbre. Dans la plus pure tradition, son approche est scientifque et insufle à ses sculptures une énergie réaliste. Il invoque également, comme son contemporain François Pompon, les volumes stylisés et les surfaces lisses de l’Art Déco. Notre Jardinière aux singes illustre l’un de ses thèmes favoris. Sandoz restera toute sa vie fasciné par la similitude des sentiments et des poses entre l’homme et cet animal, dont il fera de nombreuses représentations, notamment sa monumentale Fontaine des singes (1934) érigée dans le parc du Denantou à Lausanne.
Une version proche de notre jardinière, agrémentée de deux queues à chaque extrémité, a été présentée au Salon des Artistes Décorateurs à Paris en 1913.
Swiss-born sculptor Édouard Marcel Sandoz (1881-1971) worked adeptly across media, capturing both man and beast in stone, ceramic, and wood. While visiting the Exposition Universelle of 1900 in Paris, he found his artistic calling, convincing his family the same year to let him study sculpture and ceramics at Geneva’s École des Arts Industriels where he twice won the school’s frst prize for ceramics. In 1904, he travelled to Paris to attend the École Nationale des Beaux-Arts.
Although Sandoz maintained an interest in all subjects, animals took a leading role in his work. His sensitive translations of animal life into plastic form made him famous, a legacy he cemented through the establishment of the Société Française des Animaliers in 1933. In the tradition of animaliers –animal painters and sculptors – Sandoz rooted his work in scientifc study; he endowed many pieces with a realist energy but also, like his contemporary François Pompon, frequently deployed Art Deco’s stylized volumes and smooth surfaces. Our Jardinière aux singes illustrates one of the artist's favourite themes, explored frequently in his career, most notably for his monumental Fontaine des singes (1934) made for the Denantou Park in Lausanne, as he was fascinated by the impressive abilities of monkeys to replicate human poses and feelings.
A close version of this jardinière with tails on each side was presented at the Salon des Artistes Décorateurs in Paris in 1913.
Une version proche de notre jardinière, agrémentée de deux queues à chaque extrémité, a été présentée au Salon des Artistes Décorateurs à Paris en 1913.
Swiss-born sculptor Édouard Marcel Sandoz (1881-1971) worked adeptly across media, capturing both man and beast in stone, ceramic, and wood. While visiting the Exposition Universelle of 1900 in Paris, he found his artistic calling, convincing his family the same year to let him study sculpture and ceramics at Geneva’s École des Arts Industriels where he twice won the school’s frst prize for ceramics. In 1904, he travelled to Paris to attend the École Nationale des Beaux-Arts.
Although Sandoz maintained an interest in all subjects, animals took a leading role in his work. His sensitive translations of animal life into plastic form made him famous, a legacy he cemented through the establishment of the Société Française des Animaliers in 1933. In the tradition of animaliers –animal painters and sculptors – Sandoz rooted his work in scientifc study; he endowed many pieces with a realist energy but also, like his contemporary François Pompon, frequently deployed Art Deco’s stylized volumes and smooth surfaces. Our Jardinière aux singes illustrates one of the artist's favourite themes, explored frequently in his career, most notably for his monumental Fontaine des singes (1934) made for the Denantou Park in Lausanne, as he was fascinated by the impressive abilities of monkeys to replicate human poses and feelings.
A close version of this jardinière with tails on each side was presented at the Salon des Artistes Décorateurs in Paris in 1913.