A stunning Art Deco patinated bronze figure of a naked female dancer with cymbals by Pierre Le Faguays. A similar figure is shown in Catley - Art Deco and Other Figures page 208. Signed Le Faguays to the Marble base and also stamped RG39 to the underside of one foot. Approx height 36.5 cm including the base. Excellent original condition. French c 1925.
see also item 1739
Pierre Le Faguays (1892-1962)
Pierre Le Faguays was born in Nantes, France and became famous for the originality he gave his dancers, many of which were inspired by the statues of Tanagra. He gained a medal of honour for his work in 1927. He was a best friend of Max Le Verrier and the Le Verrier foundry produced many of his pieces. He used 2 pseudonyms as well as his own name and they were Fayral and Guerbe which were the family names of his Mother and his Wife. He was a leading sculptor and his work is frequently praised for its high quality and attention to anatomical accuracy. He also produced designs for Goldscheider in Paris under the "La Stele" label. He worked in several mediums including ivory, bronze, spelter, stone, wood, alabaster and ceramics. He studied with his friend Max Le Verrier. He was a good friend of both Marcel Bouraine and Max Le Verrier and indeed the Le Verrier foundry produced many of the Le Faguays statues. All three had studied together at the Beaux Arts in Geneva and remained life-long friends.
Of Le Faguay's sculpture Faun and Nymph, a viewer wrote: "Most of the decorative bronzes that I have seen from the Art Deco era (such as those of Ferdinand Preiss and Demetre Chiparus) reflect Jazz Age subject matter, but were essentially academic in style. Yet here, Le Faguays takes the three-dimensional medium of sculpture and adopts the heavy lines and two-dimensionality of Art Deco graphic design. This may be seen the most strongly in the poses and hair of the figures and the musculature of the faun. It reminds me of Hildreth Meiers's sculptures on the outside of Radio City Music Hall. These were, by necessity, flat. But Le Faguays faced no such limitation and simply adopted the sharp angularity for purely aesthetic reasons." (Zeray Gazette)
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