Univers du Bronze - Highlights BRAFA 2026
04/11/2025
The 2026 UDB selection presents an exceptional overview of 19th–20th century sculpture, combining museum-level quality with decorative elegance.
A highlight is Antonin Mercié’s Gloria Victis, shown in its rare chief model - an exceptional half-life-size bronze, the original matrix used for reproductions, with only about a dozen known examples including one in Toulouse. Documented in a 1912 Barbedienne note, this piece marks an important stage in Mercié’s collaboration with the foundry.
The transition to modernity is illustrated by Auguste Rodin’s Tête de Balzac, an early Griffoul cast around 1890, notable for its vibrant texture and expressive modeling.
Antoine Bourdelle is represented with a Head of Beethoven à la colonne, linked to his correspondence with the writer Henriette Charasson, revealing a personal and literary connection.
A symbolist marble by Naoum Aronson, a Belarusian sculptor active in Paris, demonstrates his mastery of direct carving in Thasos marble.
The animal sculpture section centers on Roger Godchaux’s Retour de Chasse avec cornac, a monumental bronze limited to fifteen lifetime casts.
Furniture and design play a major role in the exhibition’s scenography. Philippe Hiquily’s Table Femme in hammered brass and glass embodies elegant surrealism. Belgian favorite Jivko contributes a light, poetic Ceremonial Console depicting a heron among water lilies. Hubert Le Gall’s playful, animal-themed furniture adds a contemporary, whimsical tone.
Together, these works illustrate the evolution from academic to modern sculpture. They reveal how craftsmanship, material, and imagination connect across generations.
The display highlights both historical significance and aesthetic refinement. It promises a dialogue between sculpture, design, and artistic innovation.
BRAFA 2026 - Univers du Bronze - Highlights for the fair A highlight is Antonin Mercié’s Gloria Victis, shown in its rare chief model - an exceptional half-life-size bronze, the original matrix used for reproductions, with only about a dozen known examples including one in Toulouse. Documented in a 1912 Barbedienne note, this piece marks an important stage in Mercié’s collaboration with the foundry.
The transition to modernity is illustrated by Auguste Rodin’s Tête de Balzac, an early Griffoul cast around 1890, notable for its vibrant texture and expressive modeling.
Antoine Bourdelle is represented with a Head of Beethoven à la colonne, linked to his correspondence with the writer Henriette Charasson, revealing a personal and literary connection.
A symbolist marble by Naoum Aronson, a Belarusian sculptor active in Paris, demonstrates his mastery of direct carving in Thasos marble.
The animal sculpture section centers on Roger Godchaux’s Retour de Chasse avec cornac, a monumental bronze limited to fifteen lifetime casts.
Furniture and design play a major role in the exhibition’s scenography. Philippe Hiquily’s Table Femme in hammered brass and glass embodies elegant surrealism. Belgian favorite Jivko contributes a light, poetic Ceremonial Console depicting a heron among water lilies. Hubert Le Gall’s playful, animal-themed furniture adds a contemporary, whimsical tone.
Together, these works illustrate the evolution from academic to modern sculpture. They reveal how craftsmanship, material, and imagination connect across generations.
The display highlights both historical significance and aesthetic refinement. It promises a dialogue between sculpture, design, and artistic innovation.
