François-Xavier Lalanne

Private Collection, U.S.A.
Galerie Jousse Entreprise, Paris 
Private Collection, Monaco (acquired from the above by the present owner)

Grace Glueck, "New York Gallery Notes," Art in America, May 1967, p. 113
Patrick D'Elme, "Histoire des Lalannes," Cimaise, January 1970, p. 67
Exh. Cat., Paris, Centre Georges Pompidou, Les Lalannes, 1975, p. 10
Gilles de Bure, Intérieurs, Le Mobilier Français 1965-1979, Paris 1983, p. 52
Daniel Marchesseau, Les Lalannes, Paris 1998, pp. 36 and 58-59
Exh. Cat., New York, Paul Kasmin Gallery, Claude & François-Xavier Lalanne, 2006, p. 90

These works are in very good condition overall. The sheep and ottomans offered in this lot have been re-flocked with new wool a number of years ago. The color of the wool has slightly yellow with age and there are some extraneous unobtrusive fibers visible in the wool. Under close inspection there is some rust, traces of glue and associated discoloration to the bronze visible at the top of the sheep's forehead obscured by its wool, and there are some scattered traces of oxidation and surface abrasions also visible along each work’s bronze feet. Also under close inspection, there are scattered surface abrasions and evidence of oxidation to all the feet as to be expected with functional pieces of design.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"Animals are the center of our vocabulary because they are so varied. There is a whole variety to animal forms…Because it has been such a long time that animals have cohabited on this earth with mankind, we have invented an entire dictionary of metaphors for them. Everyone can recognize animals throughout the world, you don’t have to explain what they are or what they mean."

The late French artist François-Xavier Lalanne lived and worked alongside his wife Claude in their idyllic home and studio one hour south of Paris. An enchanting, resplendent country estate, the Lalanne world alludes to and conjures an intriguing new image of the traditional French artisan atelier, replete with bustling farm workshop full of studio assistants, workmen, children and grandchildren all taking part in the grand effort of the artistic production of Les Lalannes (as François-Xavier and Claude are commonly referred to together). The estate teems with rich vegetation and abundant gardens, from which Claude draws inspiration for her plant-based sculptural work, as well as a diverse group of animals, the main source imagery for the work of François-Xavier. It is within this habitat of organic cohabitation, of agrarian lavishness and rural vitality, that the idiosyncratically charming and romantic Les Lalannes have discovered the core volition behind their life’s work.

François-Xavier studied drawing, painting, and sculpture at Académie Julian in Paris beginning at age 18. He met Claude at his premier gallery show in the early 1950s, and twelve years later they opened their first joint exhibition, embarking on what would become a lifelong collaboration as artistic partners. François-Xavier first exhibited his Moutons de Laine at the Salon de la Jeune Peinture in Paris in 1965; since then, his menageries of sheep have become an internationally beloved and highly coveted work among luminaries in the art and design worlds such as Coco Chanel, Pierre Bergé, and the couple’s close friend Yves Saint Laurent. Made of bronze, wood, and natural wool, the sheep function as both sculpture and furniture, exuding an aura of mystery and eccentricism in the way they evade narrow medium-based classification and do not attach easily to any one twentieth century art historical movement or trope. The sheep of François-Xavier defy both time and expectations through playful humor, surprise, and imaginative functionality.

François-Xavier’s traditional French academic training, paired with the half-year period during which he worked in the Louvre’s Egyptian sculpture wing as a security guard, as well as his friendship with neighbor Constantin Brancusi all made formative impressions that laid substantial groundwork for the peculiar and distinctive style he would go on to develop. The combination of classical, Egyptian and constructive influences therefore inculcated in François-Xavier a strength in a diverse range of techniques and reliance upon meticulous planning and execution. His sculptural process fused ancient and contemporary techniques, as he would begin by using the Renaissance art of casting forms from life, followed by modern electroplating techniques. Further demonstrating his whimsical ingenuity and nonchalance toward prevailing sculptural trends, François-Xavier invented his own amalgamated style by synthesizing the various creative tenets of furniture design, decorative arts, welding, handiwork, casting, plumbing, and leather-work. 

The most consistent and salient—in addition to being the most delightful—feature of Les Lalannes’ work is that every sculptural piece defies convention by demystifying the sacred, "noli me tangere" aura of the predominate realm of high-art sculpture. Rather, Les Lalannes invite us to touch and live with their creations, sit on them, or sleep on them. The functional nature of their art enables an ease of access, a relatability that breaks down barriers between person and art, or life and art. It exists with and alongside us. In making artwork that begs our company and conceptually might not be complete without it, Les Lalannes evoke a type of cohabitation between human and art that resembles the blended, coalesced environment of their French farmland, replete with growth in all forms of living creatures. Furthermore, by sculpting fanciful images such as a giant cabbage, an apple with human lips and breasts, a rhinoceros, or a herd of sheep, Les Lalannes invoke a surrealist, whimsical perceptivity that subverts the otherwise cool and sedated sternness of industrially-made outdoor sculpture. The playful luxe and charisma embodied by Les Lalannes as an artistic duo and the parallel sensibility they build into each of their works renders the artistic masterpieces and famed series such as Moutons de Laine truly chic and timeless classics.