Claude LALANNE (1925-2019)
Except otherwise stated, all results include the premium.
Chronology : 2009
Chronology : 2009
Biography
Claude Lalanne (née Claude Jacqueline Georgette Dupeux, 1924 or 1925–2019) was born in Paris into an artistic family: her mother was a conservatory-trained pianist, an uncle was chorus master at the Paris Opera, and her father—a gold broker and mystic—conducted alchemical experiments, which may have influenced her fascination with transformative processes.
She studied architecture at the École des Beaux-Arts and École Nationale des Arts Décoratifs. In the 1950s, while initially married to architect Jean Kling (with whom she had three daughters), she entered Paris’s avant-garde scene in Montparnasse’s Impasse Ronsin, befriending figures like Constantin Brâncuși, Man Ray, and American artists Larry Rivers and James “Jimmy” Metcalf. Metcalf introduced her to electroplating (galvanoplasty), a technique she mastered by experimenting with galvanic baths to coat organic materials (leaves, plants, vegetables) in copper, preserving textures with remarkable fidelity. This became a hallmark of her work.
She met François-Xavier Lalanne at his 1952 gallery show; they collaborated on projects (e.g., window displays, props for Dior, soldered-metal horses for a Béjart ballet) before marrying in 1967. They lived and worked in separate but adjacent studios in Ury, near Fontainebleau, adopting the collective name “Les Lalanne” for exhibitions while pursuing distinct yet complementary paths: Claude focused on vegetation and botanical hybrids, François-Xavier on animals. They resisted trends, emphasizing craftsmanship, humor, and the “art of living.” Major commissions included work for Yves Saint Laurent (mirrors, breastplates, jewelry), and their pieces entered collections of fashion figures like Karl Lagerfeld, Marc Jacobs, and Tom Ford.
After François-Xavier’s death in 2008, Claude continued working vigorously into her nineties (rising at 7 a.m. daily), assisted by her daughter and granddaughter, producing new sculptures until near the end of her life. She died on April 11, 2019, in Fontainebleau at age 93–94. Her works are held in institutions like the Centre Pompidou, Musée d’Art Moderne de Paris, Cooper Hewitt, and the Clark Art Institute (which mounted a major retrospective).
Psychological Evaluation / Personality Insights
No formal psychological evaluation exists in public sources, but contemporary accounts and her own statements paint a consistent portrait of a resilient, joyful, and independent creative spirit.
Claude was described as a “fortress against bad taste and pretension,” using humor to counter mediocrity while steadfastly refusing avant-garde dogma or fleeting trends. She prioritized intimacy, beauty, and craftsmanship, viewing artist and artisan as synonymous. Her practice was grounded in daily wonder: morning garden walks for natural surprises, and a self-described state of “dreaming while awake” (with no residual night dreams). She valued functionality and emotion over conceptual severity, favoring pieces that “smile” and evoke delight or surprise.
Her persistence—working seven days a week into old age, mastering technical processes herself, and maintaining privacy while sharing a profound artistic partnership—suggests high conscientiousness, intrinsic motivation, and emotional resilience. The playful surrealism in works like Choupatte reflects a light, curious, and affectionate worldview: she blended the prosaic (cabbage, chicken) into something “right” and emotive, rooted in love (the gift for her husband) and a metaphysical intimacy with nature’s forms. Critics and peers noted her as equally independent from her husband yet harmoniously aligned in spirit, creating a shared universe of poetic transformation without merging styles. François Mitterrand (or observers citing him) praised her for dispelling mediocrity through imagination and humor.
In sum, Claude Lalanne emerges as a grounded visionary: technically ingenious, emotionally attuned to nature’s poetry, and temperamentally optimistic—transforming the ordinary into the enchantingly surreal while living a deeply artisanal, garden-centered life. Her Choupatte perfectly distills this: a simple, humorous hybrid born from curiosity, affection, and the joy of seeing something unexpected “feel right.”
Comparison to François-Xavier Lalanne's Work
Division of Motifs: François-Xavier leaned into animals (zoomorphes) with a focus on abstracted form, hidden utility, and a "menagerie" feel; Claude gravitated toward plants and flora (horticultural), with more lyrical, organic, sometimes electroplated or vegetal textures. Both shared surrealist roots, nature inspiration, and the "Zoophites" ethos (blending animal/plant traits), but his works feel more structured and furniture-oriented, hers more poetic and immersive in natural growth.
Claude Lalanne (née Claude Jacqueline Georgette Dupeux, 1924 or 1925–2019) was born in Paris into an artistic family: her mother was a conservatory-trained pianist, an uncle was chorus master at the Paris Opera, and her father—a gold broker and mystic—conducted alchemical experiments, which may have influenced her fascination with transformative processes.
She studied architecture at the École des Beaux-Arts and École Nationale des Arts Décoratifs. In the 1950s, while initially married to architect Jean Kling (with whom she had three daughters), she entered Paris’s avant-garde scene in Montparnasse’s Impasse Ronsin, befriending figures like Constantin Brâncuși, Man Ray, and American artists Larry Rivers and James “Jimmy” Metcalf. Metcalf introduced her to electroplating (galvanoplasty), a technique she mastered by experimenting with galvanic baths to coat organic materials (leaves, plants, vegetables) in copper, preserving textures with remarkable fidelity. This became a hallmark of her work.
She met François-Xavier Lalanne at his 1952 gallery show; they collaborated on projects (e.g., window displays, props for Dior, soldered-metal horses for a Béjart ballet) before marrying in 1967. They lived and worked in separate but adjacent studios in Ury, near Fontainebleau, adopting the collective name “Les Lalanne” for exhibitions while pursuing distinct yet complementary paths: Claude focused on vegetation and botanical hybrids, François-Xavier on animals. They resisted trends, emphasizing craftsmanship, humor, and the “art of living.” Major commissions included work for Yves Saint Laurent (mirrors, breastplates, jewelry), and their pieces entered collections of fashion figures like Karl Lagerfeld, Marc Jacobs, and Tom Ford.
After François-Xavier’s death in 2008, Claude continued working vigorously into her nineties (rising at 7 a.m. daily), assisted by her daughter and granddaughter, producing new sculptures until near the end of her life. She died on April 11, 2019, in Fontainebleau at age 93–94. Her works are held in institutions like the Centre Pompidou, Musée d’Art Moderne de Paris, Cooper Hewitt, and the Clark Art Institute (which mounted a major retrospective).
Psychological Evaluation / Personality Insights
No formal psychological evaluation exists in public sources, but contemporary accounts and her own statements paint a consistent portrait of a resilient, joyful, and independent creative spirit.
Claude was described as a “fortress against bad taste and pretension,” using humor to counter mediocrity while steadfastly refusing avant-garde dogma or fleeting trends. She prioritized intimacy, beauty, and craftsmanship, viewing artist and artisan as synonymous. Her practice was grounded in daily wonder: morning garden walks for natural surprises, and a self-described state of “dreaming while awake” (with no residual night dreams). She valued functionality and emotion over conceptual severity, favoring pieces that “smile” and evoke delight or surprise.
Her persistence—working seven days a week into old age, mastering technical processes herself, and maintaining privacy while sharing a profound artistic partnership—suggests high conscientiousness, intrinsic motivation, and emotional resilience. The playful surrealism in works like Choupatte reflects a light, curious, and affectionate worldview: she blended the prosaic (cabbage, chicken) into something “right” and emotive, rooted in love (the gift for her husband) and a metaphysical intimacy with nature’s forms. Critics and peers noted her as equally independent from her husband yet harmoniously aligned in spirit, creating a shared universe of poetic transformation without merging styles. François Mitterrand (or observers citing him) praised her for dispelling mediocrity through imagination and humor.
In sum, Claude Lalanne emerges as a grounded visionary: technically ingenious, emotionally attuned to nature’s poetry, and temperamentally optimistic—transforming the ordinary into the enchantingly surreal while living a deeply artisanal, garden-centered life. Her Choupatte perfectly distills this: a simple, humorous hybrid born from curiosity, affection, and the joy of seeing something unexpected “feel right.”
Comparison to François-Xavier Lalanne's Work
Division of Motifs: François-Xavier leaned into animals (zoomorphes) with a focus on abstracted form, hidden utility, and a "menagerie" feel; Claude gravitated toward plants and flora (horticultural), with more lyrical, organic, sometimes electroplated or vegetal textures. Both shared surrealist roots, nature inspiration, and the "Zoophites" ethos (blending animal/plant traits), but his works feel more structured and furniture-oriented, hers more poetic and immersive in natural growth.
- Scale and Interaction: Similar monumental presence (e.g., his sheep flocks or hippo bars parallel her giant apples as public or gathering-point sculptures). Both invite touch and use, but his often have mechanical elements (opening compartments), while hers emphasize organic poetry.
- Aesthetic: His refined, sometimes patinated bronze with clean volumes and whimsy; hers more textured, handcrafted vegetal sensuality.
Special Report
Choupatte
Choupatte (sometimes pluralized as Choupattes) is one of Claude Lalanne’s most iconic and whimsical sculptures: a hybrid object consisting of a cabbage (or cabbage-like form) supported by chicken legs (or “pattes”). The name is a playful French portmanteau blending “chou” (cabbage) and “patte” (paw/leg).
Invention, Inspiration, Intention, and Description
Claude created the first Choupatte around 1964. She took a mold of a cabbage from her garden and wondered what it would look like with legs; when she assembled it, “the moment I saw it, it felt right. It had emotion.” She initially conceived the piece as a lighthearted gift for her husband, François-Xavier Lalanne.
The inspiration stemmed directly from her deep connection to nature as a keen gardener. She drew from the organic forms in her own garden, blending the vegetable and animal kingdoms in a surreal, humorous way. This reflected the couple’s broader fascination with metamorphosis, hybrids, and the poetic re-enchantment of everyday objects—opposing the dominant abstract trends of the 1960s. Claude’s work often carried a “surrealism with a smile,” emphasizing delight, laughter, and functionality over severity: “I’d rather my art was smiling than severe.”
Description: The sculpture is a bronze or patinated/galvanized copper piece depicting a realistic cabbage head atop two or more chicken legs. Versions range from small tabletop pieces (around 30–50 cm) to monumental “Très Grand” or “Géante” editions (over 1 meter). Materials often involve electroplating (galvanoplasty) for delicate natural textures, lost-wax casting, and patination, creating a lifelike yet fantastical hybrid that feels both familiar and absurd. It straddles sculpture and functional object, evoking surprise and emotion through its incongruous yet harmonious assembly.
A variant of a related cabbage-headed figure (L’Homme à Tête de Chou) appeared on the cover of Serge Gainsbourg’s 1976 album, boosting its cult status, though Choupatte itself stands as an independent, purely sculptural series.
Prototype, Evolution, and Legacy
The prototype emerged in the early 1960s as part of Claude’s experiments with organic molds and electroplating, shown in her 1964 exhibition at Galerie J (Jeanine Restany). Early works used copper via galvanoplasty, later evolving to bronze editions in various sizes. Over decades, she produced unique pieces and limited editions (often numbered 1/1 for uniques or small runs plus artist’s proofs), with larger “Très Grand” versions cast with individual leaves for greater detail and scale. She continued refining and creating new Choupattes into her nineties, assisted by family.
The series evolved from intimate, personal experiments to public and monumental works. Examples appeared in major installations, such as the 2009 Park Avenue “Recession Art” project in New York alongside other Les Lalanne pieces. Its legacy lies in embodying the Lalannes’ playful surrealism: transforming prosaic garden elements into emotive, hybrid entities that blur art, design, and nature. Choupatte has achieved high auction values (with large unique bronzes reaching millions of euros) and remains a signature motif in retrospectives, symbolizing Claude’s horticultural focus within the couple’s menagerie of flora-fauna hybrids.
Invention, Inspiration, Intention, and Description
Claude created the first Choupatte around 1964. She took a mold of a cabbage from her garden and wondered what it would look like with legs; when she assembled it, “the moment I saw it, it felt right. It had emotion.” She initially conceived the piece as a lighthearted gift for her husband, François-Xavier Lalanne.
The inspiration stemmed directly from her deep connection to nature as a keen gardener. She drew from the organic forms in her own garden, blending the vegetable and animal kingdoms in a surreal, humorous way. This reflected the couple’s broader fascination with metamorphosis, hybrids, and the poetic re-enchantment of everyday objects—opposing the dominant abstract trends of the 1960s. Claude’s work often carried a “surrealism with a smile,” emphasizing delight, laughter, and functionality over severity: “I’d rather my art was smiling than severe.”
Description: The sculpture is a bronze or patinated/galvanized copper piece depicting a realistic cabbage head atop two or more chicken legs. Versions range from small tabletop pieces (around 30–50 cm) to monumental “Très Grand” or “Géante” editions (over 1 meter). Materials often involve electroplating (galvanoplasty) for delicate natural textures, lost-wax casting, and patination, creating a lifelike yet fantastical hybrid that feels both familiar and absurd. It straddles sculpture and functional object, evoking surprise and emotion through its incongruous yet harmonious assembly.
A variant of a related cabbage-headed figure (L’Homme à Tête de Chou) appeared on the cover of Serge Gainsbourg’s 1976 album, boosting its cult status, though Choupatte itself stands as an independent, purely sculptural series.
Prototype, Evolution, and Legacy
The prototype emerged in the early 1960s as part of Claude’s experiments with organic molds and electroplating, shown in her 1964 exhibition at Galerie J (Jeanine Restany). Early works used copper via galvanoplasty, later evolving to bronze editions in various sizes. Over decades, she produced unique pieces and limited editions (often numbered 1/1 for uniques or small runs plus artist’s proofs), with larger “Très Grand” versions cast with individual leaves for greater detail and scale. She continued refining and creating new Choupattes into her nineties, assisted by family.
The series evolved from intimate, personal experiments to public and monumental works. Examples appeared in major installations, such as the 2009 Park Avenue “Recession Art” project in New York alongside other Les Lalanne pieces. Its legacy lies in embodying the Lalannes’ playful surrealism: transforming prosaic garden elements into emotive, hybrid entities that blur art, design, and nature. Choupatte has achieved high auction values (with large unique bronzes reaching millions of euros) and remains a signature motif in retrospectives, symbolizing Claude’s horticultural focus within the couple’s menagerie of flora-fauna hybrids.
Special Report
Crocodile Furniture
The crocodile is not only a supplier for handbags. Claude Lalanne manages to promote it to the rank of an art object with its real non-stylized forms. In 1972 she is on the watch, waiting for the death of one of the beasts in the Paris Zoo.
The event occurs. Lalanne narrated its act of transmission by the director of the zoo at midnight on moonlight. We may believe her or not about such highly romantic details. What is certain is that the corpse immediately metallized by electroplating was used in a whole range of Lalanne furniture.
Dated 1972 and made of copper, bronze and brass, Fauteuil Crocodile I is probably the prototype of these armchairs where the complete crocodile in the round is rolled halfway within the back of the chair. The seat rests on supernumerary legs. It was sold for € 1.35M by Sotheby's on June 6, 2012.
Several editions follow with slightly different positions of the animal. In 1997 a pair edited in 8 copies is composed of an armchair where the tail is placed on the seat and another where it is raised. One of these pairs was separated by Sotheby's on December 13, 2017, lot 52 and lot 53 , sold for $ 980K and $ 1.15M.
Ten years later Claude Lalanne diversifies her range of bronze crocodiles, including a Crococurule stool, a bench with two crocodiles and a small bench where the complete beast is positioned as a spacer (entretoise). The bench is spacious, 79 x 140 x 74 cm compared to the 78 x 61 x 64 cm of an armchair. There is now the place for two crocodiles in a similar position. The tight composition has become airy. This Banquette is edited in 2007 in eight copies plus four artist proofs with the mark of the Figini foundry. The number 2/8 was sold for € 750K by Tajan on April 4, 2018, lot 9.
The desk is made at the same time. The crocodile skin in high relief partially covers the top while head, two side legs and tail are hanging. On December 13, 2017, Sotheby's sold for $ 2.17M as lot 54 a Bureau Crocodile 80 x 157 x 61 cm dated 2009.
The event occurs. Lalanne narrated its act of transmission by the director of the zoo at midnight on moonlight. We may believe her or not about such highly romantic details. What is certain is that the corpse immediately metallized by electroplating was used in a whole range of Lalanne furniture.
Dated 1972 and made of copper, bronze and brass, Fauteuil Crocodile I is probably the prototype of these armchairs where the complete crocodile in the round is rolled halfway within the back of the chair. The seat rests on supernumerary legs. It was sold for € 1.35M by Sotheby's on June 6, 2012.
Several editions follow with slightly different positions of the animal. In 1997 a pair edited in 8 copies is composed of an armchair where the tail is placed on the seat and another where it is raised. One of these pairs was separated by Sotheby's on December 13, 2017, lot 52 and lot 53 , sold for $ 980K and $ 1.15M.
Ten years later Claude Lalanne diversifies her range of bronze crocodiles, including a Crococurule stool, a bench with two crocodiles and a small bench where the complete beast is positioned as a spacer (entretoise). The bench is spacious, 79 x 140 x 74 cm compared to the 78 x 61 x 64 cm of an armchair. There is now the place for two crocodiles in a similar position. The tight composition has become airy. This Banquette is edited in 2007 in eight copies plus four artist proofs with the mark of the Figini foundry. The number 2/8 was sold for € 750K by Tajan on April 4, 2018, lot 9.
The desk is made at the same time. The crocodile skin in high relief partially covers the top while head, two side legs and tail are hanging. On December 13, 2017, Sotheby's sold for $ 2.17M as lot 54 a Bureau Crocodile 80 x 157 x 61 cm dated 2009.
Structure Végétale
Structure Végétale is a key series in Claude Lalanne’s oeuvre (1924/1925–2019), encompassing sculptural furniture and lighting that poetically transposes natural plant forms—branches, foliage, leaves (especially hosta), stems, and sometimes flowers or insects—into functional objects using her signature techniques of direct casting from nature, galvanoplasty (electroplating copper onto organic models), patinated or gilt bronze, and mirrored glass.
Early Prototypes / Series and Evolution
Claude Lalanne’s vegetal work began in the 1960s, rooted in her background in architecture and her practice of casting real plants from her garden (including cabbages, hostas, and wild branches). Early experiments involved electroplating natural elements to create delicate yet robust metallic forms that blurred sculpture and applied art. This aligned with the broader Les Lalanne approach (she and François-Xavier often exhibited jointly but worked independently; Claude focused on flora, he on fauna).
Early Prototypes / Series and Evolution
Claude Lalanne’s vegetal work began in the 1960s, rooted in her background in architecture and her practice of casting real plants from her garden (including cabbages, hostas, and wild branches). Early experiments involved electroplating natural elements to create delicate yet robust metallic forms that blurred sculpture and applied art. This aligned with the broader Les Lalanne approach (she and François-Xavier often exhibited jointly but worked independently; Claude focused on flora, he on fauna).
- 1960s origins: Prototypes emerged around her early nature-casting experiments, seen in shows like Zoophites (1964). Motifs included twisting stems, leaves, and organic structures that could serve as frames, supports, or decorative elements. Techniques like galvanoplasty allowed faithful replication of veined leaves and bark textures.
- 1970s–1980s development: The series crystallized with major commissions, notably the large-scale mirrors for Yves Saint Laurent and Pierre Bergé. These expanded from smaller branch-and-foliage frames into immersive, asymmetrical vegetal “rooms” with rhythmic, twisting forms evoking robust plants or epiphytic roots. Variations included integrated lighting (candelabra arms with petal bobèches).
- 1990s–2000s evolution: Pieces became more varied and often pièce unique (one-of-a-kind). Mirrors grew taller or more elaborate, with hosta leaves prominent; lighting incorporated butterflies, birds, or flowers; consoles and tables integrated leaf forms (e.g., Nénuphars water-lily motifs). Works remained highly customized, frequently commissioned directly, with subtle modifications per client (e.g., changing leaves, adding insects, or adjusting scale). The series emphasized poetry, whimsy, and life-like transmutation—branches as chandeliers “defying gravity,” mirrors multiplying reflections in a modern Kunstkammer style.
- Mirrors (“Miroirs aux branchages” or “Structure Végétale” mirrors): Framed or fully structured with branches/foliage; often full-length or wall-spanning; some with integrated lighting.
- Lighting: Chandeliers (lustres) with multiple arms/lights on branch structures, sometimes with butterflies, birds, or leaves; wall lights/appliqués.
- Tables/Consoles: Nénuphars (water-lily) consoles with leaf tops or supports; other vegetal tables.
- Other: Occasional integrated elements like candelabra or hybrid mirror-light pieces. All emphasize organic asymmetry, patinas (gilt, red, gold), and tactile naturalism.
Chronology of Key Structure Végétale Models (with Auction Details)Here is a timeline drawn from documented unique pieces, focusing on the requested lots (execution dates, key attributes, and auction context where available):
The Structure Végétale series exemplifies Claude Lalanne’s enduring ability to animate interiors with living, metallic nature—functional yet sculptural, whimsical yet refined.
- 1974–1985: Ensemble of 15 Miroirs aux Branchages for YSL/PB music room (as detailed below). Christie’s lot (past sale); now re-offered at Sotheby’s 2026 de Gunzburg sale.
- 1993: Miroir en pied Aux Branchages, pièce unique (gilt bronze/galvanized copper, 281.9 × 170.2 × 25.4 cm). Commissioned by YSL for Charlotte Aillaud. Christie’s lot 6110960.
- 1995: Unique Structure Végétale Mirror and Wall Light (gold patinated bronze, galvanized copper, mirrored glass; mirror 297 × 149 × 15 cm, wall light 126 × 49 cm). Monogrammed C.L., stamped LALANNE, dated 95, 1/1. Commissioned directly by the owner. Sotheby’s 2025 Pauline Karpidas London Collection (estimate £350,000–450,000).
- 1997: Important Lustre Structure Végétale, pièce unique (gilt patinated bronze and galvanized copper, 28 lights; 165 × 170 × 90 cm). Monogrammed C.L., stamped LALANNE, dated 97, 1/1. Celebrates plant life poetically. Sotheby’s 2021 Important Design (estimate €500,000–700,000).
- 1999: Mirror for YSL’s Tangier villa (reference for later works).
- 2002: Two Unique Nénuphars Console Tables (gold patinated bronze and glass; one 85.7 × 160 × 84.5 cm). Numbered B 1/1 M or similar, monogrammed CL, dated 2002. Acquired via Peter Marino. Sotheby’s 2024 Sydell Miller Collection (one with estimate $1,500,000–2,000,000).
- 2003: Miroir de Tanger II, pièce unique (patinated bronze, galvanoplastie, mirror; 168.5 × 116 × 8 cm). Inspired by/adapted from 1999 Tangier mirror for YSL, with modified dimensions and hosta leaves. Monogrammed CL, stamped LALANNE, dated 2003, 1/1. Commissioned directly. Sotheby’s 2021 Important Design (estimate €400,000–600,000).
- 2003: Lustre ‘Structure Végétale’ aux Papillons à Seize Bougies, pièce unique (patinated bronze and copper, 16 lights with extensions; H. 175 cm with extensions). Branches with butterflies (at client request, replacing birds); monogrammed CL, signed LALANNE, dated 2003, 1/1. For a Parisian pied-à-terre curated by Hubert de Givenchy. Christie’s lot 6330799.
- 2009: Lustre ‘Structure Végétale’ aux Papillons à Seize Bougies, pièce unique (patinated bronze and galvanized copper; 235 × 130 cm with extensions). Monogrammed CL, signed LALANNE, dated 2009, 1/1. Christie’s lot 6375401.
- 2009: Miroir, pièce unique (patinated bronze, galvanized copper and mirror; 250 × 228 cm). Monogrammed C.L., stamped LALANNE, dated 2009, 1/1. Acquired directly. Sotheby’s 2023 Hydra: Pauline Karpidas Collection (estimate €380,000–580,000).
The Structure Végétale series exemplifies Claude Lalanne’s enduring ability to animate interiors with living, metallic nature—functional yet sculptural, whimsical yet refined.
1974-1985 Set of 15 miroirs aux branchages
2026 for sale on April 22 by Sotheby's
François-Xavier and Claude Lalanne were furnishing the Parisian apartments of Yves Saint-Laurent in a variety of modernist styles, starting with the bar ordered in 1964 to François-Xavier.
The mirrored salon de musique inspired from Nymphenburg was commissioned to Claude in 1974 and completed by her in 1985 in her Structure Végétale style made of branches and leaves. This set of 15 miroirs aux branchages was sold for € 1.86M by Christie's on February 23, 2009, lot 220 in the sale of the Saint-Laurent - Bergé collection. It will be sold by Sotheby's on April 22, 2026, lot 31.
Their co-operation continued. A mirror 250 x 150 cm made by Claude in 1999 for Saint-Laurent's residence in Tangiers was sold for € 910K from the deceased estate of Pierre Bergé by the auction house Pierre Bergé et Associés on October 29, 2018, lot 92.
The Set of 15 Miroirs aux Branchages for Yves Saint-Laurent – Pierre Bergé Salon de MusiqueThis is the most iconic and ambitious realization in the Structure Végétale / branchage series.
The mirrored salon de musique inspired from Nymphenburg was commissioned to Claude in 1974 and completed by her in 1985 in her Structure Végétale style made of branches and leaves. This set of 15 miroirs aux branchages was sold for € 1.86M by Christie's on February 23, 2009, lot 220 in the sale of the Saint-Laurent - Bergé collection. It will be sold by Sotheby's on April 22, 2026, lot 31.
Their co-operation continued. A mirror 250 x 150 cm made by Claude in 1999 for Saint-Laurent's residence in Tangiers was sold for € 910K from the deceased estate of Pierre Bergé by the auction house Pierre Bergé et Associés on October 29, 2018, lot 92.
The Set of 15 Miroirs aux Branchages for Yves Saint-Laurent – Pierre Bergé Salon de MusiqueThis is the most iconic and ambitious realization in the Structure Végétale / branchage series.
- Commission and Inspiration: Commissioned in 1974 for the music room (salon de musique) in YSL and Pierre Bergé’s duplex apartment and garden at 3 rue de Babylone, Paris (a historic space previously occupied by Marie Cuttoli). The initial request was for two large mirrors to reflect light from high courtyard windows against plum-brown lacquered walls. YSL expanded it to cover all four walls, envisioning a kaleidoscopic, immersive reflective space. Claude replied it might take ten years—YSL replied, “Does it really matter?” The project spanned 1974–1985, with the first two mirrors installed by 1975. Inspiration drew from Claude’s garden (hosta leaves from China/Japan, twisting stems) and historically from the circular mirror room in the Amalienburg Pavilion (Nymphenburg Palace Park, Munich), reinterpreted as a contemporary vegetal Kunstkammer. The Lalannes’ long friendship with YSL/Bergé began in the 1960s; other collaborations included a 1964 bar by François-Xavier, Claude’s Empreintes for YSL’s 1969 couture, and garden pieces.
- Previous Examples: None directly preceding this scale; it built on Claude’s 1960s vegetal casting prototypes and smaller branch motifs.
- Key Features and Execution: Fifteen unique variations in gilt bronze and galvanized copper, rectangular or square, modeled as powerful twisting branches and foliage with red patina. Asymmetrical rhythms; large veined hosta leaves via galvanoplasty. The largest mirror includes two five-arm candelabra with removable petal-shaped bobèches. Each piece is a subtle transmutation of nature into metal, designed to multiply light and create a magical, sovereign ambiance. First two shown in 1975 exhibitions (Les Lalanne at Centre National d’Art Contemporain, Paris, and Boymans-van Beuningen, Rotterdam, lent by YSL).
- Auction History: The ensemble appeared at Christie’s as lot for the YSL/Pierre Bergé collection dispersal (described as 1974–1985). It is now offered again (as an important and unique ensemble) in the 2026 Sotheby’s sale of the Collection of Jean and Terry de Gunzburg (Design Masters). This reflects its status as a landmark collaborative masterpiece.
1995 mirror and wall light
2025 SOLD for £ 3.6M by Sotheby's
Sold for £ 3.6M from a lower estimate of £ 350K by Sotheby's on September 17, 2025, lot 12.
Unique Structure Végétale Mirror and Wall Lightmonogrammed C.L., stamped LALANNE, dated 95 and numbered 1/1 (to an edge of the mirror)
gold patinated bronze, galvanized copper, mirrored glass297 by 149 by 15 cm. 117 by 58¾ by 6 in. (mirror)
126 by 49 cm. 49½ by 19¼ in. (wall light)
Unique Structure Végétale Mirror and Wall Lightmonogrammed C.L., stamped LALANNE, dated 95 and numbered 1/1 (to an edge of the mirror)
gold patinated bronze, galvanized copper, mirrored glass297 by 149 by 15 cm. 117 by 58¾ by 6 in. (mirror)
126 by 49 cm. 49½ by 19¼ in. (wall light)
1997 lustre
2021 SOLD for € 2.67M by Sotheby's
Sold for € 2.67M from a lower estimate of € 500K by Sotheby's on November 23, 2021, lot 6.
Unique Important Structure végétale chandelier
gilt patinated bronze and galvanized copper ; with 28 lights
Monogrammed C.L., stamped LALANNE, numbered 1/1 and dated 97 on one branch
165 x 170 x 90 cm ; 65 x 66 ⅞ x 35 ⅜ in.
Unique Important Structure végétale chandelier
gilt patinated bronze and galvanized copper ; with 28 lights
Monogrammed C.L., stamped LALANNE, numbered 1/1 and dated 97 on one branch
165 x 170 x 90 cm ; 65 x 66 ⅞ x 35 ⅜ in.
2002 Nénuphars Console Table
2024 SOLD for $ 3.84M by Sotheby's
Looking for the beauty of nature, Claude Lalanne creates a variety of furnishings such as tables, seats and mirrors.
She executed in 2002 a pair of electroplated patterns of waterlilies from bud to blossom which were cast in gilt bronze as unique copies for holding a glass top.
That pair of Nénuphars consoles 86 x 150 x 85 cm each had been acquired new by Sydell Miller from the artist through the fashion maker architect Peter Marino. She used them in the vicinity of her Nymphéas by Monet.
They were estimated $ 1.5M each in the sale of her collection by Sotheby's on November 18, 2024. The lot 6 was sold for $ 3.84M and the lot 7 for $ 2.16M. Please watch the short videos shared by the auction house for the former and latter lots. The Monet was sold for $ 66M in the same sale.
She executed in 2002 a pair of electroplated patterns of waterlilies from bud to blossom which were cast in gilt bronze as unique copies for holding a glass top.
That pair of Nénuphars consoles 86 x 150 x 85 cm each had been acquired new by Sydell Miller from the artist through the fashion maker architect Peter Marino. She used them in the vicinity of her Nymphéas by Monet.
They were estimated $ 1.5M each in the sale of her collection by Sotheby's on November 18, 2024. The lot 6 was sold for $ 3.84M and the lot 7 for $ 2.16M. Please watch the short videos shared by the auction house for the former and latter lots. The Monet was sold for $ 66M in the same sale.
2003 lustre
2021 SOLD for € 3.74M by Christie's
Throughout her career that began with the Choupatte, Claude Lalanne maintained a highly original poetry based on a mingling of animal and vegetal.
In 2003 Hubert de Givenchy is commissioned for the furnishing of a private mansion in Paris. He is delighted by the project drawing of a chandelier by Claude.
This lustre named Structure Végétale supports sixteen lights on scattered branches while butterflies are posed on the vertical stem. The total extended size is 175 cm high, 149 cm wide and 104 cm deep.
The piece custom made for Givenchy in patinated bronze and patinated copper is unique and numbered 1/1. It was sold for € 3.74M from a lower estimate of € 800K by Christie's on September 14, 2021, lot 63.
In 2003 Hubert de Givenchy is commissioned for the furnishing of a private mansion in Paris. He is delighted by the project drawing of a chandelier by Claude.
This lustre named Structure Végétale supports sixteen lights on scattered branches while butterflies are posed on the vertical stem. The total extended size is 175 cm high, 149 cm wide and 104 cm deep.
The piece custom made for Givenchy in patinated bronze and patinated copper is unique and numbered 1/1. It was sold for € 3.74M from a lower estimate of € 800K by Christie's on September 14, 2021, lot 63.
2009 miroir à parcloses
2023 SOLD for € 4.4M by Sotheby's
A miroir à parcloses 250 x 230 cm executed in 2009 in patinated bronze and galvanized copper as a 1/1 by Claude Lalanne for the Karpidas collection in Hydra was sold for € 4.4M from a lower estimate of € 380K by Sotheby's on October 31, 2023, lot 6.
The Structure Végétale was also applied to chandeliers. An example 130 cm in diameter made in 2009 with 16 candlesticks was sold for € 2.2M by Christie's on May 25, 2022, lot 158.
The Structure Végétale was also applied to chandeliers. An example 130 cm in diameter made in 2009 with 16 candlesticks was sold for € 2.2M by Christie's on May 25, 2022, lot 158.
2001 Troupeau d'Eléphants dans les Arbres
Interestingly this composition associates the signature animal models of François-Xavier with the vegetal world of Claude.
See the page dedicated to François-Xavier.
See the page dedicated to François-Xavier.
Pomme
Claude Lalanne (1925–2019) made the apple (pomme) one of her most consistent and beloved motifs, treating it as a fertile ground for poetic experimentation that blended naturalism, surrealism, whimsy, and scale play. While her husband François-Xavier focused primarily on animals (such as his iconic sheep flocks), Claude gravitated toward flora—drawing inspiration from the garden and orchard surrounding their home in Ury, outside Paris. The apple allowed her to explore organic forms, human-plant hybrids, and the transformation of the everyday into something dreamlike or functional.
Origins and Significance of the Apple Motif
The apple theme emerged in Claude’s practice in the 1960s and remained central for decades. It reflected her deep love of nature (she was an avid gardener), her revival of Renaissance lost-wax casting and electroplating techniques (often applied to real plants or forms), and her surrealist-inflected sensibility—blending figuration with playful distortion. Apples appear across scales: from intimate jewelry and small decorative objects to monumental public sculptures that function almost as environmental interventions or gathering points.
The motif embodies:
Key Types and Evolution of Apple Sculptures
Claude’s apples evolved from small, intimate pieces to larger, more sculptural statements:
Materials and Technique
Claude mastered bronze casting (often with patinas ranging from warm gold to red or green tones) and drew on electroplating for delicate organic replication in smaller or earlier pieces. Surfaces emphasize tactile volume and lifelike yet stylized forms—smooth yet sculptural, evoking ripeness without literal realism. Many are signed, monogrammed (“C.L.” or “Lalanne”), dated, and numbered in limited editions (commonly 8 + artist’s proofs).
Place in Claude’s Oeuvre and Legacy
Apples exemplify Claude’s “organic poetry and free-spirited imagination”: turning a simple fruit into objects that feel alive, usable, and dreamlike. They bridge her jewelry, decorative arts, and large-scale sculpture, often exhibited alongside real gardens or in dialogue with François-Xavier’s animals. Today, they continue to appear in major retrospectives, public installations, and high-profile previews (such as the current Pomme de New York at Le Bristol Paris ahead of the Christie’s sale).
Claude’s apples parallel François-Xavier’s sheep in whimsical scale and interactivity but lean more lyrical and vegetal—contrasting with Kusama’s obsessive dotted pumpkins/flowers or Koons’s polished Pop balloons. They remain enduring icons of the Lalannes’ ability to infuse nature with surreal joy and accessibility. For the latest details on specific editions or the upcoming auction, consult Christie’s or galleries like Kasmin, Ben Brown Fine Arts, or Bailly Gallery.
Origins and Significance of the Apple Motif
The apple theme emerged in Claude’s practice in the 1960s and remained central for decades. It reflected her deep love of nature (she was an avid gardener), her revival of Renaissance lost-wax casting and electroplating techniques (often applied to real plants or forms), and her surrealist-inflected sensibility—blending figuration with playful distortion. Apples appear across scales: from intimate jewelry and small decorative objects to monumental public sculptures that function almost as environmental interventions or gathering points.
The motif embodies:
- Organic poetry — Smooth, sensual curves of the fruit rendered in bronze with warm patinas (often gilded or golden).
- Surreal twists — Anthropomorphic elements, such as mouths or watches integrated into the form.
- Scale and wonder — Exaggerating a humble fruit into something monumental, evoking abundance, temptation (biblical or fairy-tale echoes), or simple delight.
- Hybridity — Aligning with the couple’s early “Zoophites” explorations (blending plant and animal traits).
Key Types and Evolution of Apple Sculptures
Claude’s apples evolved from small, intimate pieces to larger, more sculptural statements:
- Pomme Bouche (Apple Mouth): One of her earliest and most iconic variations (designed around 1975, with editions produced into the 1980s and later “Nouvelle Pomme Bouche” in 2008/2009). A gilded or patinated bronze apple with a pair of lips or mouth integrated into the surface, adding a surreal, sensual, or humorous anthropomorphic touch. Smaller versions served as jewelry (brooches/pins) or decorative objects; some were wearable or functional. This motif evokes transformation, speech, or sensuality—echoing broader surrealist traditions (e.g., Magritte’s apples) while remaining distinctly playful and elegant.
- Pomme-Montre (Apple Watch): A functional or horological twist, incorporating timepieces into the apple form—blending utility with whimsy.
- Pomme de Jardin / Pomme Moyenne / Pomme Rouge: Mid-scale garden or decorative apples, often in patinated bronze or vibrant red tones. These emphasize naturalistic volume and could function as outdoor or indoor focal points. Examples like Pomme de Jardin Rouge (2014) or Pomme (Moyenne) (2006) highlight her ability to make the familiar feel poetic and strange.
- Pomme d’Hiver (Winter Apple): Larger bronze sculptures, often with a golden or warm patina. These bridge mid- and monumental scales; editions exist in various sizes, with some reaching impressive dimensions suitable for gardens or public display. A 2008/2009 example appeared in exhibitions like those at Fairchild Tropical Botanic Garden.
- Monumental Apples (e.g., Pomme de New York, Pomme de Londres): The grandest expressions. Pomme de New York (2008, edition of 8) stands nearly 2.5 meters (about 8 ft) tall and wide—one of Claude’s largest apple works. Created in bronze with a golden patina, it was featured in the 2009 Les Lalanne on Park Avenue installation in New York (a witty pun on “la Grosse Pomme” / “The Big Apple”). Other large variants have appeared at Versailles (Petit Trianon area), Domaine du Muy, and various gardens. These pieces serve as immersive sculptures or benches, inviting interaction while reframing urban or historic spaces with natural wonder.
Materials and Technique
Claude mastered bronze casting (often with patinas ranging from warm gold to red or green tones) and drew on electroplating for delicate organic replication in smaller or earlier pieces. Surfaces emphasize tactile volume and lifelike yet stylized forms—smooth yet sculptural, evoking ripeness without literal realism. Many are signed, monogrammed (“C.L.” or “Lalanne”), dated, and numbered in limited editions (commonly 8 + artist’s proofs).
Place in Claude’s Oeuvre and Legacy
Apples exemplify Claude’s “organic poetry and free-spirited imagination”: turning a simple fruit into objects that feel alive, usable, and dreamlike. They bridge her jewelry, decorative arts, and large-scale sculpture, often exhibited alongside real gardens or in dialogue with François-Xavier’s animals. Today, they continue to appear in major retrospectives, public installations, and high-profile previews (such as the current Pomme de New York at Le Bristol Paris ahead of the Christie’s sale).
Claude’s apples parallel François-Xavier’s sheep in whimsical scale and interactivity but lean more lyrical and vegetal—contrasting with Kusama’s obsessive dotted pumpkins/flowers or Koons’s polished Pop balloons. They remain enduring icons of the Lalannes’ ability to infuse nature with surreal joy and accessibility. For the latest details on specific editions or the upcoming auction, consult Christie’s or galleries like Kasmin, Ben Brown Fine Arts, or Bailly Gallery.
Claude Lalanne’s apple sculptures and René Magritte’s apple motifs both engage with the apple as a surreal, familiar-yet-strange object, but they belong to different generations and artistic strategies within (or extending) the Surrealist tradition. Recent exhibitions, such as “Magritte and Les Lalanne: In the Mind’s Garden” (Di Donna Galleries and Ben Brown Fine Arts, New York, 2025), have explicitly placed them in dialogue, highlighting shared poetic reimaginings of nature while underscoring their distinct approaches.
Shared Surrealist Roots and Apple as Motif
Both artists treat the apple not as a straightforward still-life subject but as a vehicle for surprise, poetic transformation, and questioning perception. The apple recurs in Magritte’s paintings from the 1950s–1960s and in Claude’s sculptures from the 1960s onward (e.g., Pomme Bouche series starting ~1975, up to later monumental works like Pomme de New York, 2008).
Galleries and critics note that Claude’s Pomme Bouche (an apple with a smiling or lipped mouth) playfully echoes Magritte’s anthropomorphic or masked apples, such as the paired green apples with eye masks in Le Prêtre Marié (The Married Priest, 1966). Alexandre Iolas, who represented Magritte and later championed Les Lalanne, provides a historical bridge between the two. Both reimagine nature as a “fertile landscape of poetic foresight and surreal transformation” rather than mere depiction.
Key Differences in Approach, Medium, and Intention
Magritte (1898–1967) represents classic Belgian Surrealism’s focus on mystery and the subconscious through precise, dreamlike painting. Claude Lalanne (1925–2019), working a generation later with her husband François-Xavier, extends this lineage into three-dimensional, often collaborative, and livable forms—sometimes called “Surrealism you can sit on.” Exhibitions pairing them emphasize continuity: both transform the ordinary (apples, clouds, animals) into poetic surprises, but Lalanne adds tactility, functionality, and a gentler, nature-centric whimsy. In summary, Magritte’s apples provoke questions about what we see and cannot see, while Lalanne’s celebrate the apple’s sensual form and potential for joyful transformation. One hides and puzzles; the other reveals, enlarges, and invites touch. Their shared surreal affinity for the apple makes the comparison rich, as seen in recent curatorial dialogues, yet their executions highlight painting’s intellectual distance versus sculpture’s embodied presence. For visual parallels, the 2025 “In the Mind’s Garden” exhibition offers the closest direct juxtaposition.
Shared Surrealist Roots and Apple as Motif
Both artists treat the apple not as a straightforward still-life subject but as a vehicle for surprise, poetic transformation, and questioning perception. The apple recurs in Magritte’s paintings from the 1950s–1960s and in Claude’s sculptures from the 1960s onward (e.g., Pomme Bouche series starting ~1975, up to later monumental works like Pomme de New York, 2008).
Galleries and critics note that Claude’s Pomme Bouche (an apple with a smiling or lipped mouth) playfully echoes Magritte’s anthropomorphic or masked apples, such as the paired green apples with eye masks in Le Prêtre Marié (The Married Priest, 1966). Alexandre Iolas, who represented Magritte and later championed Les Lalanne, provides a historical bridge between the two. Both reimagine nature as a “fertile landscape of poetic foresight and surreal transformation” rather than mere depiction.
Key Differences in Approach, Medium, and Intention
- Medium and Physicality:
- Magritte: Two-dimensional paintings. Apples appear as flat, precisely rendered green (or occasionally other) forms in illusionistic space—often oversized, floating, or juxtaposed impossibly (e.g., a giant apple filling a room in The Listening Room, 1952). The medium emphasizes visual paradox and intellectual puzzle.
- Lalanne: Three-dimensional bronze sculptures (often with warm patinas, gilded finishes, or textured surfaces). Works range from intimate jewelry-scale Pomme Bouche to monumental pieces nearly 2.5 meters tall/wide (Pomme de New York). They invite tactile interaction, function as seating or garden focal points, and exist in real space with weight, volume, and presence. One critic compared the matte elegance and scale of her large apples to Constantin Brancusi, while noting oversized echoes of Magritte.
- Symbolism and Meaning:
- Magritte: The apple often serves philosophical or perceptual ends. In his most famous work, The Son of Man (1964), a green apple floats before a suited man’s face (eyes peeking over), symbolizing the tension between the visible and the hidden: “Everything we see hides another thing.” It evokes mystery, the limits of knowledge, and everyday objects turned enigmatic—sometimes with biblical undertones (temptation, Original Sin, or “Son of Man” as a Christ reference, though Magritte resisted strict religious readings). Other paintings feature apples with masks, floating independently, or in impossible contexts, questioning representation itself (“This is not an apple” logic, akin to his famous pipe). The tone is cool, witty, and doubt-inducing.
- Lalanne: More lyrical, whimsical, and celebratory. Apples embody “organic poetry,” sensuality, and the joy of nature transformed. Pomme Bouche adds a smiling mouth for anthropomorphic humor and vitality—less about concealment than playful revelation or human-plant hybridity. Monumental works like Pomme de New York amplify scale for wonder and public delight (with a pun on “The Big Apple”), functioning as immersive or usable objects. Themes lean toward abundance, free-spirited imagination, and blurring art with everyday life or gardens, rather than existential doubt.
- Scale, Function, and Viewer Interaction:
- Magritte’s apples remain pictorial illusions, prompting intellectual contemplation from a distance.
- Lalanne’s invite physical engagement—sitting on, gathering around, or experiencing in outdoor/public settings (Park Avenue, Versailles). They blur sculpture, furniture, and nature in a way that feels accessible and joyful, aligning with the Lalannes’ philosophy of demystifying art.
- Tone and Legacy:
- Magritte: Enigmatic, deadpan surrealism focused on paradox and the unreliability of images.
- Lalanne: Warmer, more sensual and functional surrealism rooted in craft (lost-wax casting, electroplating influences) and the natural world surrounding her home. Her apples feel alive and inviting, extending Surrealism into decorative and monumental realms.
Magritte (1898–1967) represents classic Belgian Surrealism’s focus on mystery and the subconscious through precise, dreamlike painting. Claude Lalanne (1925–2019), working a generation later with her husband François-Xavier, extends this lineage into three-dimensional, often collaborative, and livable forms—sometimes called “Surrealism you can sit on.” Exhibitions pairing them emphasize continuity: both transform the ordinary (apples, clouds, animals) into poetic surprises, but Lalanne adds tactility, functionality, and a gentler, nature-centric whimsy. In summary, Magritte’s apples provoke questions about what we see and cannot see, while Lalanne’s celebrate the apple’s sensual form and potential for joyful transformation. One hides and puzzles; the other reveals, enlarges, and invites touch. Their shared surreal affinity for the apple makes the comparison rich, as seen in recent curatorial dialogues, yet their executions highlight painting’s intellectual distance versus sculpture’s embodied presence. For visual parallels, the 2025 “In the Mind’s Garden” exhibition offers the closest direct juxtaposition.
2008 Pomme de New York
2026 for sale on April 15 by Christie's
"Pomme de New York" (2008) by Claude Lalanne is a monumental bronze sculpture, edition 7/8, monogrammed 'C.L.', signed 'LALANNE', and dated 2008 on the side. It measures approximately 248 x 225 cm (nearly 2.5 meters tall and wide), making it one of the artist's largest apple works. It was acquired from JGM Galerie in Paris in 2008 by a private U.S. collection and has appeared in major exhibitions, including Les Lalanne on Park Avenue (Paul Kasmin Gallery, New York, 2009), shows at Ben Brown Fine Arts/Paul Kasmin (2013), Les Lalanne Fifty Years of Work (2015), and Les Lalanne à Trianon at Château de Versailles (2021).
It is lot 12A in Christie's 20th/21st Century Art Evening Sale in Paris on April 15, 2026, with an estimate of €5,000,000–7,000,000 (roughly $5.4M–7.6M USD at current rates).
Funny Intention in the Title "Pomme de New York"
The title is a witty pun playing on "la Grosse Pomme" (French for "the Big Apple," New York's nickname). "Pomme de New York" literally means "Apple of New York," directly nodding to the city's moniker while evoking a literal giant apple—fitting for this oversized, monumental bronze. It was created for or featured in the 2009 Les Lalanne on Park Avenue installation in New York, where a bronze apple appeared on 52nd Street alongside other works like sheep sculptures. The title cleverly ties the piece to its exhibition context and cultural reference, blending French wordplay with American symbolism in a lighthearted, surrealist spirit typical of the Lalannes.
Key Features of the Piece for Sale
A 2007 Pomme de Londres was sold for $ 2.83M by Sotheby's on December 8, 2022, lot 303.
gilt bronze
impressed LALANNE, monogrammed CL, dated 2007, numbered 2/8 B and stamped with the FIGINI foundry mark
48¾ in. (123.8 cm) high
44 in. (111.7 cm) maximum diameter
It is lot 12A in Christie's 20th/21st Century Art Evening Sale in Paris on April 15, 2026, with an estimate of €5,000,000–7,000,000 (roughly $5.4M–7.6M USD at current rates).
Funny Intention in the Title "Pomme de New York"
The title is a witty pun playing on "la Grosse Pomme" (French for "the Big Apple," New York's nickname). "Pomme de New York" literally means "Apple of New York," directly nodding to the city's moniker while evoking a literal giant apple—fitting for this oversized, monumental bronze. It was created for or featured in the 2009 Les Lalanne on Park Avenue installation in New York, where a bronze apple appeared on 52nd Street alongside other works like sheep sculptures. The title cleverly ties the piece to its exhibition context and cultural reference, blending French wordplay with American symbolism in a lighthearted, surrealist spirit typical of the Lalannes.
Key Features of the Piece for Sale
- Scale and Presence: At nearly 2.5 meters, it is Claude Lalanne's largest apple sculpture, functioning as both artwork and potential object (e.g., a bench or focal point for gathering). Its exaggerated size amplifies the everyday fruit into something spectacular and immersive.
- Material and Craft: Cast bronze (patina not detailed in all sources, but often with warm, organic tones in her apple works). The surface likely emphasizes natural form with Lalanne's characteristic attention to organic texture and sculptural precision.
- Edition and Markings: Numbered 7 from an edition of 8, signed and dated—ensuring rarity and collectibility.
- Contextual Versatility: Previously displayed in major urban and historic settings (Park Avenue, Versailles, now previewed at Le Bristol Paris), it embodies the Lalannes' ability to transform public spaces with poetic, nature-inspired forms. It perfectly captures her "organic poetry and free-spirited imagination," where the familiar apple becomes a precious, dreamlike object.
A 2007 Pomme de Londres was sold for $ 2.83M by Sotheby's on December 8, 2022, lot 303.
gilt bronze
impressed LALANNE, monogrammed CL, dated 2007, numbered 2/8 B and stamped with the FIGINI foundry mark
48¾ in. (123.8 cm) high
44 in. (111.7 cm) maximum diameter
2013 Pomme de Ben by Claude and François-Xavier Lalanne
2021 SOLD for € 4.5M by Sotheby's
Sold for € 4.5M from a lower estimate of € 300K by Sotheby's on November 4, 2021, lot 3, from the collection of Dorothée Lalanne.
patinated and gilt bronze
Monogrammed C.L. and FXL, stamped LALANNE on the apple, monogrammed FXL and with foundry mark bocquel Fd. on the monkey, dated 2013 and numbered PB EA 2/4 on both
115 x 94 x 90 cm
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Pomme de Ben (2013) is a rare collaborative sculpture by Claude Lalanne and François-Xavier Lalanne, signed and dated under both names. It exemplifies their complementary approaches: Claude’s botanical focus and François-Xavier’s animal motifs.
Key Details of Pomme de Ben
Nature of Collaboration Between Claude and François-Xavier Lalanne
Claude (1924/1925–2019) and François-Xavier (1927–2008) met in 1952 in Paris, began living and working together shortly after, and married in 1967. They exhibited jointly from their breakthrough 1964 show Zoophites (Galerie J, Paris) onward, often under the collective name Les Lalanne (first prominently used in 1966 with dealer Alexander Iolas). However, they maintained separate studios and distinct practices:
Other Examples of Their Co-operation / Joint Works
True piece-by-piece collaborations (where both contributed distinct elements to one sculpture) are exceptional and documented in only a handful of cases. Most “co-operation” involved parallel creation, joint exhibitions, shared commissions, or mutual influence/critique. Notable examples include:
patinated and gilt bronze
Monogrammed C.L. and FXL, stamped LALANNE on the apple, monogrammed FXL and with foundry mark bocquel Fd. on the monkey, dated 2013 and numbered PB EA 2/4 on both
115 x 94 x 90 cm
Browsing web page
1 result
Searching the web
48 results
Pomme de Ben (2013) is a rare collaborative sculpture by Claude Lalanne and François-Xavier Lalanne, signed and dated under both names. It exemplifies their complementary approaches: Claude’s botanical focus and François-Xavier’s animal motifs.
Key Details of Pomme de Ben
- Title and Year: Pomme de Ben, 2013 (some references note origins or models around 2007).
- Materials: Patinated and gilt bronze (bronze patiné et doré).
- Dimensions: Approximately 115 × 94 × 90 cm (45¼ × 37 × 37½ in.); a variant measures 122 × 92 × 92 cm.
- Description: An oversized, realistic apple (Claude’s contribution) serving as a base or platform for a seated or perched monkey (François-Xavier’s contribution). The sculpture blends whimsical surrealism with naturalism, creating a playful, monumental still-life hybrid.
- Markings: Monogrammed C.L. and F.X.L. (or FXL), stamped LALANNE on the apple; monogrammed FXL with foundry mark Bocquel Fd. on the monkey. Dated 2013 and numbered PB EA 2/4 (artist’s proof, edition of 4) on both elements.
- Edition: Artist’s proof 2/4 from a small edition.
- Auction Context (Sotheby’s 2021): Offered in a dedicated Claude & François-Xavier Lalanne sale. Estimate €300,000–500,000. The piece highlights the rarity of their joint works, as they typically created separately despite living and working side-by-side in Ury, near Fontainebleau, for over five decades.
Nature of Collaboration Between Claude and François-Xavier Lalanne
Claude (1924/1925–2019) and François-Xavier (1927–2008) met in 1952 in Paris, began living and working together shortly after, and married in 1967. They exhibited jointly from their breakthrough 1964 show Zoophites (Galerie J, Paris) onward, often under the collective name Les Lalanne (first prominently used in 1966 with dealer Alexander Iolas). However, they maintained separate studios and distinct practices:
- François-Xavier specialized in bold, often functional animal sculptures (e.g., Moutons sheep that double as seats, Rhinocrétaire rhinoceros desk, hippo bathtubs, gorillas as safes).
- Claude focused on delicate, poetic botanical and insect-inspired works using direct casting, galvanoplasty (electroplating from nature), and intricate foliage (e.g., Choupatte, Structure Végétale mirrors, Pomme series, ginkgo or hosta leaves).
Other Examples of Their Co-operation / Joint Works
True piece-by-piece collaborations (where both contributed distinct elements to one sculpture) are exceptional and documented in only a handful of cases. Most “co-operation” involved parallel creation, joint exhibitions, shared commissions, or mutual influence/critique. Notable examples include:
- Singe aux Nénuphars (monkey with water-lily/ginkgo tabletop): François-Xavier’s monkey base combined with Claude’s leaf-form top. A playful hybrid functional sculpture (table), cited as one of their rare direct collaborations.
- Centaure (centaur): A hybrid piece involving both artists’ input, noted as challenging to produce due to their differing methods (François-Xavier’s planned modeling vs. Claude’s more intuitive casting).
- Early joint exhibition pieces (Zoophites, 1964): While not single-object collaborations, the show paired François-Xavier’s Rhinocrétaire with Claude’s Choupatte, establishing their complementary surreal-naturalist dialogue. Other shared early explorations included experiments in casting and bronze.
- Unrealized projects: Late-1970s proposal for Central Park Zoo with monumental animal sculptures and animated gates (maquettes from 1982 survive); this reflected joint conceptual thinking.
- Public installations: Outdoor groupings like those on Park Avenue or in sculpture gardens (e.g., Kasmin) often mix their works (Claude’s large Pomme d’Hiver or Pomme de New York alongside François-Xavier’s Moutons or Singe Avisé), creating dialogue without single-piece fusion.
- Other rare hybrids: Occasional pieces where animal and vegetal elements merge, or furniture like desks/tables with combined motifs. A 2021 auction record for a hybrid apple-monkey sculpture reached high prices, underscoring the market value of their collaborations (up to €4.5m for similar pieces).
2014 Pomme d'Hiver
2022 SOLD for $ 4.3M by Sotheby's
Sold for $ 4.3M from a lower estimate of $ 2M by Sotheby's on December 8, 2022, lot 305.
number 7 from an edition of 8 plus 4 artist's proofs
gilt bronze
monogrammed CL, impressed LALANNE, numbered 7/8 and dated 2014
84¼ in. (214 cm) high
66⅛ in. (168 cm) maximum diameter
another Pomme d'hiver estimated $ 3M for sale by Sotheby's on April 22, 2026, lot 59.
number 1 from an edition of 8 plus 4 artist's proofs
gold patinated bronze
monogrammed C.L., impressed LALANNE, dated 2009 and numbered 1/8
80 ½ in. (204.5 cm) high
75 in. (190.5 cm) maximum diameter
number 7 from an edition of 8 plus 4 artist's proofs
gilt bronze
monogrammed CL, impressed LALANNE, numbered 7/8 and dated 2014
84¼ in. (214 cm) high
66⅛ in. (168 cm) maximum diameter
another Pomme d'hiver estimated $ 3M for sale by Sotheby's on April 22, 2026, lot 59.
number 1 from an edition of 8 plus 4 artist's proofs
gold patinated bronze
monogrammed C.L., impressed LALANNE, dated 2009 and numbered 1/8
80 ½ in. (204.5 cm) high
75 in. (190.5 cm) maximum diameter
later Choupatte
Here is a detailed comparison of three Choupatte sculptures by Claude Lalanne. All three are iconic hybrids — a realistic cabbage head atop chicken legs — but they differ significantly in scale, material, edition status, provenance, and market performance.
Key Comparisons
Details below :
Key Comparisons
- Scale & Presence: The two "Très Grand" versions (2008 Sotheby's and 2014 Christie's) are dramatically larger and more imposing (over 1 meter in each dimension), commanding outdoor or statement-installation appeal. The 2013 Christie's piece is intimate and suited for indoor display or cabinets.
- Material & Technique: The 2013 copper version uses Claude's signature early galvanoplasty for hyper-realistic vegetable texture. The bronze examples (2008 patinated, 2014 gilt) offer durability and different finishes — matte/aged vs. gleaming.
- Edition vs. Unique: Uniques (2008 and 2013) generally achieve stronger premiums due to rarity. The 2014 editioned work still performed excellently thanks to family provenance and size.
- Provenance Impact: Family (Marie Lalanne) and direct-from-artist commission (Karpidas) drove confidence and high multiples. The 2013 piece benefited from gallery and private Asian history.
- Auction Performance & Multiples:
- All three far exceeded estimates, reflecting sustained "Lalanne mania."
- The 2008 unique monumental set a high bar (record at the time, ≈€4.97M).
- The 2013 small unique surprised with €3.293M (very high price-per-size ratio).
- The 2014 large editioned reached $3.54M in a dedicated family sale.
- Factors like uniqueness, size, material freshness, and single-owner excitement consistently amplified results. Larger uniques from prominent collections tend to lead the market.
- Market Trends: These sales (2022–2025) show Choupatte's enduring appeal across scales. Monumental bronzes appeal to institutional or grand-residence buyers, while smaller uniques attract design collectors. Demand remains robust in Paris, New York, and London, with cross-over from fashion, design, and surrealist art enthusiasts.
Details below :
2008 Très Grand Choupatte, pièce unique
2023 SOLD for € 5M by Sotheby's
Sold for € 5M from a lower estimate of € 1M by Sotheby's on October 31, 2023, lot 8.
Sotheby's Hydra: The Collection of Pauline Karpidas (2023) – Très grand choupatte, pièce unique (2008)
Très Grand Choupatte estimated $ 2M for sale by Sotheby's on April 22, 2026, lot 82.
number 1 from an edition of 8 plus 4 artist's proofs
patinated bronze
monogrammed CL, impressed LALANNE, dated 2009 and numbered 1/8
48 ¾ x 54 ¼ x 54 ½ in. (123.8 x 137.8 x 137.8 cm)
Sotheby's Hydra: The Collection of Pauline Karpidas (2023) – Très grand choupatte, pièce unique (2008)
- Dimensions: 115 × 135 × 135 cm (≈45¼ × 53⅛ × 53⅛ in) — monumental scale.
- Material: Patinated bronze.
- Edition: Unique (1/1 P.K.), specially commissioned for collector Pauline Karpidas; monogrammed C.L., stamped LALANNE, numbered and dated 2008 on a paw.
- Estimate: €1,000,000 – 1,500,000.
- Realized price: Approximately €4.97 million (≈$5.3 million), setting a record for Claude Lalanne at the time. It was one of the standout results in the sale, which featured multiple Lalanne works from Karpidas's Hydra home.
- Provenance: Acquired directly from the artist; displayed at her Hydra residence (often noted as guarding the front door).
- Context: Part of a high-profile single-owner collection sale that generated strong Lalanne demand. The unique, personal commission and large size drove intense bidding.
Très Grand Choupatte estimated $ 2M for sale by Sotheby's on April 22, 2026, lot 82.
number 1 from an edition of 8 plus 4 artist's proofs
patinated bronze
monogrammed CL, impressed LALANNE, dated 2009 and numbered 1/8
48 ¾ x 54 ¼ x 54 ½ in. (123.8 x 137.8 x 137.8 cm)
2013 pièce unique
2025 SOLD for € 3.3M by Christie's
Sold for € 3.3M from a lower estimate of € 500K by Christie's on November 26, 2025, lot 7.
Christie's Design, 1925-2025 (November 2025) – 'Choupatte', pièce unique (2013)
Christie's Design, 1925-2025 (November 2025) – 'Choupatte', pièce unique (2013)
- Dimensions: 28 × 30 × 29 cm (≈11 × 12 × 11½ in) — small/tabletop scale.
- Material: Galvanized and patinated copper with tin elements (earlier, more delicate technique preserving natural textures via galvanoplasty).
- Edition: Unique (1/1), monogrammed CL, signed Claude Lalanne, dated 2013, and numbered on a metal plate attached to a paw.
- Estimate: €500,000 – 700,000.
- Realized price: €3,293,000 (nearly 5× the high estimate after competitive bidding with over 10 participants).
- Provenance: Important private collection, Hong Kong; previously with Galerie Mitterrand, Paris; acquired by the consignor in 2016.
- Context: Sold in a design-focused auction. Despite its small size, the unique status, early galvanoplasty material, and fresh-to-market appeal from a strong Asian provenance generated exceptional multiples. Literature references in major Lalanne catalogues were noted.
2014 Très Grand Choupatte
2022 SOLD for $ 3.54M by Christie's
Sold for $ 3.54M from a lower estimate of $ 1M by Christie's on December 7, 2022, lot 17.
Christie's Sculpting Paradise: The Collection of Marie Lalanne (December 2022) – Très Grand Choupatte (2014)
Christie's Sculpting Paradise: The Collection of Marie Lalanne (December 2022) – Très Grand Choupatte (2014)
- Dimensions: 117 × 139 × 132 cm (≈46⅛ × 54¾ × 52 in) — very large, comparable to the 2008 monumental version.
- Material: Gilt bronze (shiny, luxurious finish).
- Edition: Numbered 8/8 (editioned, not unique); monogrammed CL, stamped LALANNE, dated 2014.
- Estimate: $1,000,000 – 1,500,000.
- Realized price: $3,540,000 (well above the high estimate).
- Provenance: From the collection of Marie Lalanne (the artists' daughter); family-held piece.
- Context: Top Claude lot in a landmark white-glove sale (100% sold, total ≈$77 million) that set records for design auctions at Christie's. The family provenance and dedicated Lalanne context boosted results across the board.
Special Report
Coincidence Kusama vs Lalanne in the 2000s
The monumental Pomme (apple) and Choupatte (cabbage-on-legs) sculptures by Claude Lalanne, along with the large-scale Pumpkin sculptures by Yayoi Kusama, did appear in prominent public and exhibition contexts during the 2000s, creating a superficially simultaneous "vegetable/fruit giant" vibe in the art world. However, the timelines, origins, and drivers point strongly to independent development rather than direct influence (from Kusama to Lalanne) or coordinated curator pressure.
Similarities
Drivers: Curator Requests vs. Independent Inspiration
Coincidence or Parallel Trends?
This appears to be largely a coincidence, amplified by the art world's growing appetite for accessible, photogenic, large-scale public sculptures in the 2000s (think outdoor installations, biennales, and "Instagram-friendly" art before social media fully exploded). Both artists had long careers exploring organic forms:
Similarities
- Monumental Scale and Public Presence: Lalanne's Pomme de New York measures roughly 248 × 225 cm (about 8.1 × 7.4 ft), one of her largest apple works, functioning as an immersive object (potentially a gathering point or bench-like form). Kusama's pumpkins often reach similar or greater scales: many bronze examples are around 2–2.5 meters, while larger installations like the 2024 Serpentine Pumpkin in Kensington Gardens stand at 6 meters tall (nearly 20 ft) with a 5.5-meter diameter, and others (e.g., NGV's Dancing Pumpkin) hit 5 meters and weigh over 9 tonnes. Both artists' works have been installed in prominent urban or landscape settings—Lalanne's on Park Avenue, at Versailles; Kusama's on Naoshima pier, in parks, and museums—creating dialogue with their environments and inviting viewer interaction.
Drivers: Curator Requests vs. Independent Inspiration
- For Lalanne: No strong evidence ties the monumental 2000s Pomme or Choupatte editions directly to specific curator demands for "giant produce" themes. Her work grew organically from decades of nature-based surrealism (casting real objects, anthropomorphizing plants). Demand increased in the late 1990s–2000s due to collector interest (e.g., fashion/design worlds) and gallery rediscovery, leading to new casts/editions. Exhibitions often featured existing motifs scaled up, not fresh commissions inventing the forms.
- For Kusama: Monumental pumpkins were frequently curator- or institution-driven commissions for specific sites (e.g., Naoshima 1994 and 2006, various biennales, museum gardens). Her studio produced editions in response to exhibition opportunities, but the motif itself was self-generated and consistent since the 1980s–1990s. The 2000s surge reflected her skyrocketing institutional profile rather than a reactive pivot.
Coincidence or Parallel Trends?
This appears to be largely a coincidence, amplified by the art world's growing appetite for accessible, photogenic, large-scale public sculptures in the 2000s (think outdoor installations, biennales, and "Instagram-friendly" art before social media fully exploded). Both artists had long careers exploring organic forms:
- Lalanne via French surrealist/design traditions (influenced by 1960s peers and nature casting).
- Kusama via her obsessive repetition and personal iconography.
Special Report
Current boom at auction for Les Lalanne
The auction market for Claude Lalanne (1925–2019) remains robust as of early 2026, benefiting from the broader surge in demand for Les Lalanne works. This "boom" reflects sustained collector enthusiasm for her lyrical, nature-inspired sculptures—particularly flora motifs like apples, cabbages (choupatte), and mirrors—amid a design market that has outperformed much of the fine art sector in recent years.
Current Status for Claude Lalanne
Comparison with François-Xavier Lalanne (1927–2008)
François-Xavier's market is significantly hotter at the ultra-high end, driven by his functional zoomorphic sculptures (sheep/moutons, rhinoceros desks/rhinocrétaire, hippopotamus bars, elephants, ostrich bars, etc.). These pieces combine whimsy, rarity, and hidden utility (e.g., desks or bars inside animal forms), appealing to collectors seeking statement "sculpture-furniture."
Current Status for Claude Lalanne
- High-profile highlight: Her monumental bronze Pomme de New York (2008, edition 7/8, 248 × 225 cm) heads to Christie's Paris 20th/21st Century Art Evening Sale on April 15, 2026, with an estimate of €5–7 million ($5.4–7.6 million). It is positioned as one of the sale's star lots, previewed at Le Bristol Paris, underscoring strong institutional and private interest in her largest-scale pieces.
- Recent performance: Individual works continue to achieve strong results, often exceeding estimates. Examples include unique pieces like her Structure végétale aux papillons, souris et oiseaux chandelier (2000) selling for $1.865 million and L’Enlèvement d’Europe (1990) for $1.134 million in 2025 design sales. Her cabbage sculptures (choupatte) have historically driven records, with Très Grand Choupatte (2014) reaching $3.5 million in a 2022 family sale. Top realized prices for her sculptures have hit around $5.28 million.
- Market ranking and volume: Claude has climbed rankings (reaching 10th among post-2000 artists in some 2025 analyses), with cumulative auction sales in the hundreds of millions over time. Her works appeal through poetic organic forms, often in bronze with warm patinas, and cross over into both design and fine art evening sales. Demand is fueled by exhibitions (e.g., pairings with Magritte), garden installations, and growing interest in female artists in the design sphere.
Comparison with François-Xavier Lalanne (1927–2008)
François-Xavier's market is significantly hotter at the ultra-high end, driven by his functional zoomorphic sculptures (sheep/moutons, rhinoceros desks/rhinocrétaire, hippopotamus bars, elephants, ostrich bars, etc.). These pieces combine whimsy, rarity, and hidden utility (e.g., desks or bars inside animal forms), appealing to collectors seeking statement "sculpture-furniture."
- Record prices and top sales:
- François-Xavier: Current auction record is $31.4 million for the unique Hippopotame Bar (1976) at Sotheby's New York in December 2025—the highest price ever for a design object at auction. Other standouts include Rhinocrétaire I ($19.4 million in 2023), Grand Rhinocrétaire II ($16.4 million in 2025), Bar aux Autruches ($12.9 million), and Troupeau d'Éléphants ($11.6 million). Multiple works have entered the top 10 in recent years, with dedicated sales (e.g., Dorothée Lalanne collection totaling $59 million in 2024) achieving strong sell-through rates.
- Claude: Highest confirmed results cluster around $3.5–5.3 million (e.g., major choupatte or mirrors). Monumental flora like the upcoming Pomme de New York could push higher, but her ceiling remains below François-Xavier's animal "bars" and desks. Her 2022 family sale top lot was the $3.5 million cabbage.
- Volume and frequency: François-Xavier generates higher total auction turnover and more eight- or nine-figure results. He has ranked as high as 2nd among French artists in some periods (behind only Monet in one 2024/2025 snapshot), with over 1,300 works offered historically and strong sell-through (~84%). Claude's volume is solid but trails, with her works often appearing alongside his in mixed Les Lalanne sales. Both benefit from family/estate sales that have injected fresh supply and set benchmarks.
- Drivers of difference:
- François-Xavier: His pieces emphasize innovation in functionality (hidden compartments, mobility), monumental scale, and narrative whimsy (e.g., flocks "grazing" indoors). Animal motifs dominate high-end demand, with rarity of unique early works (1960s–1970s) fueling bidding wars.
- Claude: Her appeal lies in lyrical, sensual vegetal poetry (apples, cabbages, mirrors with organic forms). These feel more decorative/garden-oriented and accessible at mid-to-high levels, but lack the "wow" utility or mechanical surprise of his best animals. Her market has grown notably (especially for unique chandeliers or large flora), aided by interest in women artists, yet it lags the animal-driven frenzy.
- Shared strength: The couple's collaborative legacy creates synergy—mixed sales often perform exceptionally, with provenance from estates or historic collectors (e.g., Schlumberger, Yves Saint Laurent) boosting both. Global demand, design market resilience, and crossover into fine art sales sustain the boom for Les Lalanne overall.
