Georges Van Der Straeten (1856-1926) - Laughing, Malicious - Bronze Busts. Circa 1890.

Georges Van der Straeten (Ghent, 1856-1926) - La Rieuse, La Malicieuse. Pair of bronze busts with brown patina presented on a molded circular pedestal in Rouge Griotte marble. Old edition cast probably from the Parisian Maisons de Bronzes d'art Eugène Blot et fils or A.Hertoz, after models created by the artist-sculptor between 1887-1890. Signed hollow on their reverse: "Van Der Straeten". For the Curious: "His work is a smile", wrote Georges Migeon in 1895 in an article devoted to this "sculptor" who had become "the master of all Parisian elegance". Of "a charming invention", these two small effigies modeled with jubilation featuring some Elegant or Parisiennes of La Belle Epoque - playful maids, "exquisite and rascals" of Modern Times - illustrate these remarks to delight. Spirited, La Rieuse (1887) also called L'Espiègle or Gaité sports an opulent throat and neck; her face, framed by playful locks, radiates a frank, casual smile accentuated by the upturned profile of her nose, the mischievous expression of her eyes. In the hollow of the swirling fabric nimbating his chest, takes place a Wolf or mask of Commedia dell'arte, an allusion to the spiritual character of Colombine prized by the artist or an echo in his career of the Drame-bust of Sarah Bernhardt (1886). Bewitching, La Malicieux (circa 1890) also known as La Modestie, "marvel of spiritual grace in its fine and distinguished execution" (Arsène Houssaye, 1890) seduced from the start by her pretty little face haloed by a clever layered toupé stitched with a ribbon, by "this nothing of coquetry and pleasantness" displayed by her precious gestures imprinted with a coaxing modesty; the fine fabric slips from her shoulders revealing a slender, undulating body playing with her fresh and smiling finery. Statuettes-Trinkets declining "the delicacies, cunning, modesty and charms" with which "the modern woman knows so well how to adorn her beauty" (Henri Nicolle, 1893; G.Migeon, 1895), these fancy busts seduce salonniers, amateurs of art at the Salon des Artistes Français, attracting Parisian or European strollers strolling on the Boulevards near the luxurious store of Auguste Klein or attending the "permanent exhibitions" offered within their Houses by Bronziers d'Art then renowned such as Eugène Blot or A.Hertoz (respectively located at 51, boulevard de la Madelaine and 41, rue de Châteaudun), first owners in the years 1890-1895 - period of recognition and fame of G.Van der Straeten in this "Parisian style" adopted by the sculpture of the time-models of the artist from then on published in bronze appropriate the liveliness of the considerations of Arsène Houssaye on La Parisienne of his time: "La Parisienne -from the point of view of the sculptor-a l multiple expression (...), composite grace. She is a whole, because she is the Parisienne par excellence, that is to say the spirit, the charm, the coquetry, abandonment, theological virtues; but it can also be the eighth capital sin" (La Parisienne, in: La Grande Dame: journal de l'Elegance et des arts, 1893) Let yourself be tempted?: Enlivening "with their fantasies and their sculpted chic", any effigy by G.Van der Straeten (1856-1926) naturally takes its place in living rooms or other rooms: "on a fireplace, on a sideboard, on a corner, this is a very pretty artistic object". (Champsaur) directors adopted its "delicious, cute and charming” silhouette. Materials: bronze with brown patina; Rouge Griotte marble. Dimensions: Total height: 21 cm; without the base: 18 cm.