François-Xavier LALANNE (1927-2008)
Except otherwise stated, all results include the premium.
See also : Modern tables Chairs and seats French sculpture
Chronology : 1976 1978 2000 2001 2003 2004 2005
See also : Modern tables Chairs and seats French sculpture
Chronology : 1976 1978 2000 2001 2003 2004 2005
François-Xavier Lalanne (1927–2008) specialized in zoomorphic sculptures, creating a whimsical, functional menagerie of animals that blurred the lines between fine art, furniture, and surrealist fantasy. While his wife Claude focused more on flora (like the apples discussed previously), François-Xavier drew from the animal kingdom—transforming creatures into practical yet poetic objects that often concealed storage, seating, or bars within their forms. His works emphasize abstracted, refined volumes with a sense of inner life, humor, and usability, rooted in a belief that art should integrate into everyday life rather than remain purely contemplative.
Signature Animal Sculptures and Themes
François-Xavier's bestiary includes sheep, rhinoceroses, hippopotami, elephants, bears, rabbits, ostriches, monkeys, gorillas, deer (wapiti), birds, frogs, cats, and more exotic or mythological hybrids like centaurs. Many pieces are monumental, cast in bronze (often patinated or gilded), epoxy stone, or other materials, and designed for interaction—sitting, opening, or rearranging.
Comparison to Claude Lalanne's Work (e.g., Apples like Pomme de New York)
François-Xavier's animal sculptures dominate the high end of the Les Lalanne market, with dedicated sales achieving tens of millions. Key highlights:
Signature Animal Sculptures and Themes
François-Xavier's bestiary includes sheep, rhinoceroses, hippopotami, elephants, bears, rabbits, ostriches, monkeys, gorillas, deer (wapiti), birds, frogs, cats, and more exotic or mythological hybrids like centaurs. Many pieces are monumental, cast in bronze (often patinated or gilded), epoxy stone, or other materials, and designed for interaction—sitting, opening, or rearranging.
- Moutons (Sheep): His most iconic and career-defining motif. Debuted in 1965–66 as a flock of 24 at the Salon de la Jeune Peinture in Paris (initially titled Pour Polythème, referencing Homer's Odyssey where Ulysses escapes the Cyclops by clinging to giant sheep). Early Moutons de Laine featured real sheepskin over structures with patinated bronze heads and legs (some with casters for mobility); later versions used bronze, epoxy stone, or painted stone. They function as stools, benches, or decorative "flock" installations that "graze" in living rooms or public spaces. Yves Saint Laurent and Pierre Bergé famously commissioned sets, and flocks have appeared in high-profile installations like "Sheep Station" in Chelsea. François-Xavier quipped it was easier (and funnier) to have sculptural sheep in an apartment than real ones. Variants include Mouton de Pierre, Brebis, Agneau, and larger rams/ewes.
- Rhinocéros / Rhinocrétaire: Early and highly significant. Rhinocrétaire I (1964) is a monumental brass/copper rhino concealing a desk, safe, bar, and wine storage—his first major large-scale animal sculpture. Later iterations like Grand Rhinocrétaire II continue the theme of hidden functionality.
- Hippopotame: Playful and functional, with examples like Hippopotame I (a life-size bathtub that opens to reveal a sink/vanity in the mouth and tub in the body) and the extraordinary Hippopotame Bar (1976, unique piece commissioned by Anne Schlumberger), whose side reveals a revolving bottle rack, glass storage, ice bucket, and serving tray.
- Other Standouts:
- Troupeau d'Éléphants dans les Arbres (Herd of Elephants in the Trees, 2001): A group of seven freestanding gilt-bronze elephants of varying sizes that can be arranged under or on a table, evoking a savanna scene.
- Ours (Bears), including Très Grand Ours and upright, almost human-postured examples.
- Lapin à Vent (Wind Rabbit): Hybrid forms blending rabbit, bird, and sheep elements, sometimes with moving parts.
- Âne Planté (Planted Donkey): Large bronze planter.
- Hybrids like Chat Polymorphe (a winged, hooved cat with fish tail that opens into a bar), ostrich bars (Bar aux Autruches), bird beds, and frog chairs.
Comparison to Claude Lalanne's Work (e.g., Apples like Pomme de New York)
- 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.
- Market Overlap: Both benefit from the soaring Les Lalanne demand, with animal pieces frequently achieving top results alongside floral ones. Their collaborative yet distinct practices created a cohesive "universe" that collectors prize.
François-Xavier's animal sculptures dominate the high end of the Les Lalanne market, with dedicated sales achieving tens of millions. Key highlights:
- Record: Hippopotame Bar (unique, 1976) sold for $31.4 million (with fees) at Sotheby's New York in December 2025, becoming the most expensive design object ever at auction at the time and smashing previous records.
- Rhinocrétaire I (1964): €18.3 million (~$19.4M) at Christie's Paris in 2023.
- Troupeau d'Éléphants dans les Arbres: $11.6 million at Sotheby's (2024).
- Âne Planté: $8.4 million at Christie's (2022).
- Sheep flocks/sets: A trio of bronze sheep reached $6.3 million; individual Moutons often fetch hundreds of thousands to over $1 million (e.g., a Mouton de Laine at ~$961,000).
- 2024 dedicated Christie's sale of ~70 animal works: Totaled $58.9 million, with many exceeding estimates (e.g., Très Grand Centaure at $6.1M, setting model records).
- Other multimillion results include ostrich bars, large bears, and rhino variants. François-Xavier's output has generated over $100 million at auction in recent years, with demand fueled by rarity of unique pieces, strong provenance, and broad appeal.
Life of François-Xavier Lalanne
François-Xavier Lalanne (1927–2008) was born in Agen, France, into a family environment that nurtured an early appreciation for art and nature—his grandfather dealt in animal bones and reproduced museum masterpieces, while his father was an automobile enthusiast. He received a Jesuit education before moving to Paris at age 18 to study drawing, painting, and sculpture at the Académie Julian. After military service, he worked as a guard at the Louvre, immersing himself in ancient artifacts, particularly Egyptian forms, which profoundly influenced his later work.
In the late 1940s, he rented a studio in Montparnasse next to Constantin Brâncuși, who introduced him to Surrealist circles including Max Ernst, Man Ray, Marcel Duchamp, and Salvador Dalí. Initially focused on painting, Lalanne's trajectory shifted dramatically in 1952 when he met Claude Dupeux (later Lalanne) at his first solo exhibition. They began living and working together, marrying in 1967, and from the 1960s exhibited jointly as "Les Lalanne," though maintaining distinct practices—François-Xavier on animals, Claude on vegetation.
The couple settled in the rural village of Ury, south of Paris, where they raised four daughters and hosted a vibrant circle of artists, designers (like Yves Saint Laurent and Pierre Bergé), and collectors. Lalanne's career peaked with whimsical, functional sculptures that blended art and everyday utility, earning acclaim from elites like the Rothschilds and Karl Lagerfeld. He passed away in 2008, leaving a legacy of joyful, nature-inspired works.
Art and Signature Style
Lalanne's oeuvre is characterized by a playful bestiary of animal sculptures—sheep, rhinoceroses, hippopotamuses, monkeys, birds, and more—often rendered in bronze, brass, or epoxy stone with surreal twists. His most iconic pieces are functional: the Rhinocrétaire (a rhinoceros hiding a desk, lamp, and safe), Hippopotame Bar (a life-size hippo with a hinged body revealing a bathtub or bar), and the famous Moutons de Laine (wool-covered sheep that double as seats or ottomans).
These works draw from ancient symbolism (e.g., Egyptian bulls), classical abstraction (influenced by Brâncuși and Pompon), and Surrealism's dreamlike hybrids, yet emphasize utility and humor. Lalanne famously stated, "The supreme art is the art of living," and believed sculpture should be "familiar and useful," freeing it from seriousness: "I thought that it would be funny to invade that big living room with a flock of sheep."
Psychological Evaluation
While no formal clinical psychological assessments of Lalanne exist publicly, an interpretive evaluation based on his biography, statements, and art reveals a personality marked by whimsy, rebellion against convention, and a deep humanistic optimism.
François-Xavier Lalanne (1927–2008) was born in Agen, France, into a family environment that nurtured an early appreciation for art and nature—his grandfather dealt in animal bones and reproduced museum masterpieces, while his father was an automobile enthusiast. He received a Jesuit education before moving to Paris at age 18 to study drawing, painting, and sculpture at the Académie Julian. After military service, he worked as a guard at the Louvre, immersing himself in ancient artifacts, particularly Egyptian forms, which profoundly influenced his later work.
In the late 1940s, he rented a studio in Montparnasse next to Constantin Brâncuși, who introduced him to Surrealist circles including Max Ernst, Man Ray, Marcel Duchamp, and Salvador Dalí. Initially focused on painting, Lalanne's trajectory shifted dramatically in 1952 when he met Claude Dupeux (later Lalanne) at his first solo exhibition. They began living and working together, marrying in 1967, and from the 1960s exhibited jointly as "Les Lalanne," though maintaining distinct practices—François-Xavier on animals, Claude on vegetation.
The couple settled in the rural village of Ury, south of Paris, where they raised four daughters and hosted a vibrant circle of artists, designers (like Yves Saint Laurent and Pierre Bergé), and collectors. Lalanne's career peaked with whimsical, functional sculptures that blended art and everyday utility, earning acclaim from elites like the Rothschilds and Karl Lagerfeld. He passed away in 2008, leaving a legacy of joyful, nature-inspired works.
Art and Signature Style
Lalanne's oeuvre is characterized by a playful bestiary of animal sculptures—sheep, rhinoceroses, hippopotamuses, monkeys, birds, and more—often rendered in bronze, brass, or epoxy stone with surreal twists. His most iconic pieces are functional: the Rhinocrétaire (a rhinoceros hiding a desk, lamp, and safe), Hippopotame Bar (a life-size hippo with a hinged body revealing a bathtub or bar), and the famous Moutons de Laine (wool-covered sheep that double as seats or ottomans).
These works draw from ancient symbolism (e.g., Egyptian bulls), classical abstraction (influenced by Brâncuși and Pompon), and Surrealism's dreamlike hybrids, yet emphasize utility and humor. Lalanne famously stated, "The supreme art is the art of living," and believed sculpture should be "familiar and useful," freeing it from seriousness: "I thought that it would be funny to invade that big living room with a flock of sheep."
Psychological Evaluation
While no formal clinical psychological assessments of Lalanne exist publicly, an interpretive evaluation based on his biography, statements, and art reveals a personality marked by whimsy, rebellion against convention, and a deep humanistic optimism.
- Playfulness and Humor as Core Traits: Lalanne's repeated emphasis on fun—"Art is like life, it shouldn't be taken seriously"—suggests a light-hearted, anti-pompous disposition. His functional animals subvert traditional sculpture's grandeur, transforming imposing beasts (e.g., rhinos, hippos) into domestic objects. This reflects a psychological need to democratize art, making it accessible and joyful, perhaps as a counter to the abstract, serious trends of postwar modernism.
- Connection to Nature and the Unconscious: His fascination with animals' "mysterious inner life" and "universal symbolism" aligns with Surrealist influences, evoking Jungian archetypes—animals as symbols of instinct, freedom, and the primal self. Bringing wild creatures indoors (e.g., sheep in living rooms) may symbolize a desire to integrate nature's vitality into human spaces, blurring boundaries between wild/domestic, art/life. This could indicate an extroverted yet introspective personality, seeking harmony amid chaos.
- Rebellion and Independence: Abandoning painting post-meeting Claude and defying 1960s abstraction show adaptability and non-conformity. His rural retreat in Ury, while hosting elite circles, hints at a balance between solitude and sociability—perhaps an ambivert temperament valuing authentic relationships over urban pretension.
- Relational Depth: His lifelong partnership with Claude—creative yet independent—points to secure attachment and emotional stability. Family life with four daughters and close bonds (e.g., with Duchamp neighbors) suggest warmth and generativity.
masterpiece
1965 Pour Polyphème
not located as a set
The Pour Polyphème (also spelled Pour Polyphème or Pour Polypheme) sheep by François-Xavier Lalanne represent one of the most iconic and enduring motifs in his oeuvre, evolving from a singular, sensational 1965 installation into a versatile, expanding family of functional sculptures that spanned his career until his death in 2008. The series embodies Lalanne's signature blend of surrealist whimsy, classical allusion, and practical design—turning art into livable, interactive objects that "invade" domestic or outdoor spaces.
Origins: The 1965 Debut as Pour Polyphème
François-Xavier created the seminal flock in his Paris apartment (shared with Claude Lalanne) specifically for the Salon de la Jeune Peinture at the Palais de Tokyo in 1965 (sometimes dated to 1965–66 in sources). It consisted of 24 sheep (typically described as 8 standing/sheep with heads and 16 grazing/headless ones), constructed with:
Early examples featured a mix of wool-covered bodies and bronze elements, with some variations (e.g., rare black wool versions produced in limited numbers in the late 1960s–1970s, including gifts or commissions). The flock’s success led to immediate commissions for private clients, including the Schlumberger/Treilles family (Anne Gruner Schlumberger acquired an early set for her Fondation des Treilles estate), Alexandre Iolas, Günther Sachs, and others like the Agnelli family. A notable complete early flock from the collection of Edmund S. Carpenter and Adelaide de Menil (including eight sheep, one black variant, and 16 grazing ones) later appeared at auction, underscoring the rarity of intact original groupings.
1960s–1970s: Expansion and Commissions
The initial sensation prompted Lalanne to produce additional Moutons de Laine (wool sheep) flocks throughout the 1970s, often as bespoke commissions. These retained the core construction (sheepskin/wool over structure with bronze accents) but adapted to client needs. Some were photographed in high-profile interiors, such as in Life magazine (1967), cementing their status as symbols of chic, irreverent taste. Black wool variants emerged as rarities during this period. The sheep’s modular, flock-like nature encouraged grouping and rearrangement, enhancing their interactive appeal.
1970s–1980s: Material Adaptations for Durability
To extend usability—particularly for outdoor or garden settings—Lalanne introduced more weather-resistant versions:
A homogeneous group of ten Moutons de Pierre from the first edition was sold for $ 7.5M by Christie's on December 17, 2011, lot 303.
1980s–2000s: Diversification into the “Nouveaux Moutons” FamilyLalanne continued refining and expanding the motif, introducing greater variety in form, scale, and character:
Overall Evolution and Legacy
The sheep evolved from a one-off, wool-heavy conceptual statement (Pour Polyphème, 1965—emphasizing surprise, mobility, and literary wit) to a durable, multifaceted family of objects adaptable for indoor/outdoor use. Key shifts included:
Current Location
The complete original Pour Polyphème set of 24 sheep is not currently in a single public collection or on permanent public view. Individual sheep or subgroups from early flocks (including pieces directly tied to the 1965 period or executed shortly after) have been dispersed through private sales and auctions over decades.
No recent public records (as of 2026) indicate the full 1965 exhibition flock reunited in one location. The sheep's modular, edition-like nature (with later bronze or stone variants) means "the" seminal set exists more as a historical concept than a fixed object group today—pieces continue to circulate in the high-end design market, where even single early Moutons de Laine command strong prices.
Origins: The 1965 Debut as Pour Polyphème
François-Xavier created the seminal flock in his Paris apartment (shared with Claude Lalanne) specifically for the Salon de la Jeune Peinture at the Palais de Tokyo in 1965 (sometimes dated to 1965–66 in sources). It consisted of 24 sheep (typically described as 8 standing/sheep with heads and 16 grazing/headless ones), constructed with:
- Aluminum or wood armatures.
- Real sheepskin or wool coverings for the bodies.
- Patinated bronze heads and legs (some sheep were intentionally headless to evoke a grazing flock).
- Casters or wheels on the hooves for mobility, allowing easy rearrangement.
Early examples featured a mix of wool-covered bodies and bronze elements, with some variations (e.g., rare black wool versions produced in limited numbers in the late 1960s–1970s, including gifts or commissions). The flock’s success led to immediate commissions for private clients, including the Schlumberger/Treilles family (Anne Gruner Schlumberger acquired an early set for her Fondation des Treilles estate), Alexandre Iolas, Günther Sachs, and others like the Agnelli family. A notable complete early flock from the collection of Edmund S. Carpenter and Adelaide de Menil (including eight sheep, one black variant, and 16 grazing ones) later appeared at auction, underscoring the rarity of intact original groupings.
1960s–1970s: Expansion and Commissions
The initial sensation prompted Lalanne to produce additional Moutons de Laine (wool sheep) flocks throughout the 1970s, often as bespoke commissions. These retained the core construction (sheepskin/wool over structure with bronze accents) but adapted to client needs. Some were photographed in high-profile interiors, such as in Life magazine (1967), cementing their status as symbols of chic, irreverent taste. Black wool variants emerged as rarities during this period. The sheep’s modular, flock-like nature encouraged grouping and rearrangement, enhancing their interactive appeal.
1970s–1980s: Material Adaptations for Durability
To extend usability—particularly for outdoor or garden settings—Lalanne introduced more weather-resistant versions:
- Moutons de Pierre (Stone Sheep), beginning around 1979 (with a flock created for a high school in Agen-Foulayronnes). These replaced sheepskin with epoxy stone or painted stone for the bodies, while retaining patinated bronze for heads and legs. The off-white stone body gave a more sculptural, permanent feel suited to gardens or public spaces, though they maintained the life-like, grazable quality.
A homogeneous group of ten Moutons de Pierre from the first edition was sold for $ 7.5M by Christie's on December 17, 2011, lot 303.
1980s–2000s: Diversification into the “Nouveaux Moutons” FamilyLalanne continued refining and expanding the motif, introducing greater variety in form, scale, and character:
- Mouton Transhumant (around 1988/1991): A sleeker variant with a noticeably longer neck, often interpreted as introducing the ewe (brebis) to the herd. This added narrative depth, suggesting family dynamics, gender roles, or pastoral movement (“transhumant” refers to seasonal migration of flocks).
- Nouveaux Moutons (New Sheep) series, launched in 1994: This broadened the flock significantly, adding distinct “characters” such as:
- Béliers (rams).
- Brebis (ewes).
- Agneaux (lambs). Materials typically combined epoxy stone bodies with patinated bronze heads/legs, or fully bronze versions in some cases. These later pieces emphasized life-like qualities while remaining functional as seating or decorative elements. Examples from 2001 or 2008 (e.g., Brebis or Agneau) show the motif’s persistence into Lalanne’s final years.
Overall Evolution and Legacy
The sheep evolved from a one-off, wool-heavy conceptual statement (Pour Polyphème, 1965—emphasizing surprise, mobility, and literary wit) to a durable, multifaceted family of objects adaptable for indoor/outdoor use. Key shifts included:
- From ephemeral/soft to permanent/hard: Wool → epoxy stone/bronze for longevity.
- From uniform flock to diverse characters: Headless grazers and standing sheep → rams, ewes, lambs with narrative potential.
- From singular event to lifelong motif: One sensational debut → decades of variations, commissions, and editions that became synonymous with Les Lalanne’s playful surrealism.
Current Location
The complete original Pour Polyphème set of 24 sheep is not currently in a single public collection or on permanent public view. Individual sheep or subgroups from early flocks (including pieces directly tied to the 1965 period or executed shortly after) have been dispersed through private sales and auctions over decades.
- One of the earliest and most historically significant versions of the Pour Polyphème set was acquired by Anne Gruner Schlumberger (1905–1993), a major early collector, for her Fondation des Treilles estate in Tourtour, Haut-Var (southern France). This set (sometimes referenced with 22 sheep in exhibition contexts) has been loaned for public display. In 2022–2023, twenty-two sheep from this group were exhibited at the Château Borély – Musée des Arts décoratifs, de la Faïence et de la Mode in Marseille (October 8, 2022 – March 12, 2023). The Fondation des Treilles continues to hold or manage early Lalanne sheep as part of its collection.
No recent public records (as of 2026) indicate the full 1965 exhibition flock reunited in one location. The sheep's modular, edition-like nature (with later bronze or stone variants) means "the" seminal set exists more as a historical concept than a fixed object group today—pieces continue to circulate in the high-end design market, where even single early Moutons de Laine command strong prices.
1964 Rhinocrétaire
2023 SOLD for € 18.3M by Christie's
After the death of Yves Klein, two couples try to awaken French art. Jeanine de Goldschmidt, companion of Pierre Restany, is the manager of the Galerie J, opened in 1961. The Nouveaux Réalistes movement was ephemeral but opened the way to a playful and heterogeneous art, appropriating the industrial object.
In 1964 at the Galerie J manages in 1964 the Zoophites exhibition is highlighted by François-Xavier Lalanne's Rhinocrétaire in the shop window and by the Choupatte and Montre Oignon of his companion and future wife Claude Lalanne. These biomorphic works can be used as pieces of furniture.
Their conceptions and their product lines are slightly different. François-Xavier maintains the functionality of his models of furniture even when they are zoomorphic. Claude creates decorative objects for the living room or the garden with an unlimited imagination. Before them Fornasetti had changed the decoration of the furniture but not the shape.
The Rhinocrétaire is hiding a desk, a bar, a safe and tubes for holding bottles in the inspiration of the French 18th century meubles à secrets. The seminal example, 145 x 300 x 100 cm extended and 120 x 283 x 70 folded, is made of brass, bronze, zinc, leather, natural wax plus a light source. It was acquired in Galerie J by the mother of Jeanine de Goldschmidt-Restany after the original show. It was sold for € 18.3M from a lower estimate of € 4M by Christie's on October 20, 2023, lot 201.
The world of fashion is charmed by their inventions. Beside the zoomorphic, François-Xavier offers custom furniture in which the unconventional position and shape of cases and pots meets a functional need.
The bar in metal supplied in 1965 to Yves Saint-Laurent and Pierre Bergé is equipped with an ovoid bottle rack, a shaker in the shape of a cornucopia and a spherical ice bucket. It was sold in February 2009 by Christie's and Pierre Bergé et Associés for € 2.75M.
The drawing board prepared from 1964 to meet the demands of Karl Lagerfeld was delivered to him in 1966. In an inspiration very similar to the YSL bar, this tray with adjustable inclination is equipped with glass and metal containers for pencils and brushes, an adjoining surface for preparing colors, a spherical storage box and a light source. This KL table was sold for € 750K by Sotheby's on May 3, 2018, lot 156.
Grande Carpe is a zoomorphic piece of furniture executed in 1972 by Lalanne in the follow of his seminal Rhinocrétaire. It may be used as a bar or a table. This single copy is made of patinated sheet iron, nickel silver and painted wood. It is 324 cm long and 133 cm high. Its width is 63 cm when closed and 176 cm when unfolded on both sides. It stands on three fins. It was sold for $ 7.4M by Christie's on November 19, 2024, lot 55A.
In 1964 at the Galerie J manages in 1964 the Zoophites exhibition is highlighted by François-Xavier Lalanne's Rhinocrétaire in the shop window and by the Choupatte and Montre Oignon of his companion and future wife Claude Lalanne. These biomorphic works can be used as pieces of furniture.
Their conceptions and their product lines are slightly different. François-Xavier maintains the functionality of his models of furniture even when they are zoomorphic. Claude creates decorative objects for the living room or the garden with an unlimited imagination. Before them Fornasetti had changed the decoration of the furniture but not the shape.
The Rhinocrétaire is hiding a desk, a bar, a safe and tubes for holding bottles in the inspiration of the French 18th century meubles à secrets. The seminal example, 145 x 300 x 100 cm extended and 120 x 283 x 70 folded, is made of brass, bronze, zinc, leather, natural wax plus a light source. It was acquired in Galerie J by the mother of Jeanine de Goldschmidt-Restany after the original show. It was sold for € 18.3M from a lower estimate of € 4M by Christie's on October 20, 2023, lot 201.
The world of fashion is charmed by their inventions. Beside the zoomorphic, François-Xavier offers custom furniture in which the unconventional position and shape of cases and pots meets a functional need.
The bar in metal supplied in 1965 to Yves Saint-Laurent and Pierre Bergé is equipped with an ovoid bottle rack, a shaker in the shape of a cornucopia and a spherical ice bucket. It was sold in February 2009 by Christie's and Pierre Bergé et Associés for € 2.75M.
The drawing board prepared from 1964 to meet the demands of Karl Lagerfeld was delivered to him in 1966. In an inspiration very similar to the YSL bar, this tray with adjustable inclination is equipped with glass and metal containers for pencils and brushes, an adjoining surface for preparing colors, a spherical storage box and a light source. This KL table was sold for € 750K by Sotheby's on May 3, 2018, lot 156.
Grande Carpe is a zoomorphic piece of furniture executed in 1972 by Lalanne in the follow of his seminal Rhinocrétaire. It may be used as a bar or a table. This single copy is made of patinated sheet iron, nickel silver and painted wood. It is 324 cm long and 133 cm high. Its width is 63 cm when closed and 176 cm when unfolded on both sides. It stands on three fins. It was sold for $ 7.4M by Christie's on November 19, 2024, lot 55A.
2003 Grand Rhinocrétaire
2025 SOLD for $ 16.4M by Sotheby's
Les Lalanne accumulate new subjects without obsoleting the old themes. On 23 and 24 October, 2019, Sotheby's sold the works that they were keeping in their home and studio near Fontainebleau. The lot 13 , sold for € 5.4M, was a Rhinocrétaire 2.55 m long in welded metal. Opening the beast unfolds the desk. This unique piece made in 1991 was certainly executed for the personal use of the artist.
The Grand Rhinocrétaire II, also identified as Grand Rhinocéros II, was designed in 2002. The 1/8 in gold patinated bronze, brass and leather from the 2003 edition, 130 x 260 x 61 cm, , was sold for $ 16.4M from a lower estimate of $ 3M by Sotheby's on June 11, 2025, lot 105.
In the same materials as the example above, the 7/8 from the 2017 posthumous edition by Bocquel, 145 x 250 x 61 cm, was sold for € 5.5M by Sotheby's on May 24, 2022, lot 140.
The Grand Rhinocrétaire II, also identified as Grand Rhinocéros II, was designed in 2002. The 1/8 in gold patinated bronze, brass and leather from the 2003 edition, 130 x 260 x 61 cm, , was sold for $ 16.4M from a lower estimate of $ 3M by Sotheby's on June 11, 2025, lot 105.
In the same materials as the example above, the 7/8 from the 2017 posthumous edition by Bocquel, 145 x 250 x 61 cm, was sold for € 5.5M by Sotheby's on May 24, 2022, lot 140.
1968 Bar aux Autruches
2025 SOLD for € 11M by Sotheby's
Created around 1882, the Pâte Nouvelle is a new hard paste developed by the Manufacture de Porcelaine de Sèvres, prepared at a lower temperature than the porcelains of the previous century. Around 1965 Antoine d'Albis, head of the Manufacture laboratory, develops on a similar principle an intensely white porcelain referenced PA.A. François-Xavier Lalanne is interested.
The Bar aux Autruches is unprecedented in its design. The tray is carried on each side in the beak of an ostrich. The life size standing birds turn their backs each other for the balance. The folding wings open laterally on a bottle rack. The tray is centered with a removable ice bucket in the shape of an egg. The birds bear the mark of the Manufacture de Sèvres.
Six Ostrich bars were assembled between 1967 and 1973.
One of them is exhibited in the permanent collections of the Musée de Sèvres and another one was deposited at the Palais de l'Elysée at the request of President Pompidou, a great sponsor of contemporary art.
An example 120 x 198 x 68 cm that was kept by the Lalanne family was sold for € 11M from a lower estimate of € 3M by Sotheby's on May 20, 2025, lot 114. The top is dated 1967 and an ostrich is dated 1968.
Another copy, 143 x 194 x 39 cm, was sold for € 6.2M by Sotheby's on November 21, 2017, lot 40. The top is dated 1970 and each ostrich is dated 1967.
In 1970 Lalanne edits another bar using the new ultra-white porcelain. That Grasshopper Bar, 175 cm long, is produced in two copies only. One was offered by President Pompidou to Queen Elizabeth II in 1972. The other was sold for $ 1.64M by Sotheby's on May 24, 2018, lot 449.
The Bar aux Autruches is unprecedented in its design. The tray is carried on each side in the beak of an ostrich. The life size standing birds turn their backs each other for the balance. The folding wings open laterally on a bottle rack. The tray is centered with a removable ice bucket in the shape of an egg. The birds bear the mark of the Manufacture de Sèvres.
Six Ostrich bars were assembled between 1967 and 1973.
One of them is exhibited in the permanent collections of the Musée de Sèvres and another one was deposited at the Palais de l'Elysée at the request of President Pompidou, a great sponsor of contemporary art.
An example 120 x 198 x 68 cm that was kept by the Lalanne family was sold for € 11M from a lower estimate of € 3M by Sotheby's on May 20, 2025, lot 114. The top is dated 1967 and an ostrich is dated 1968.
Another copy, 143 x 194 x 39 cm, was sold for € 6.2M by Sotheby's on November 21, 2017, lot 40. The top is dated 1970 and each ostrich is dated 1967.
In 1970 Lalanne edits another bar using the new ultra-white porcelain. That Grasshopper Bar, 175 cm long, is produced in two copies only. One was offered by President Pompidou to Queen Elizabeth II in 1972. The other was sold for $ 1.64M by Sotheby's on May 24, 2018, lot 449.
1974 Chameaux Seats
2024 SOLD for $ 7.8M by Christie's
In the follow of the Moutons de Laine, Chameau is a funny seat conceived by François-Xavier Lalanne and executed by him in 4 copies in 1974. It is also covered with a heavy sheep wool on ewe skin.
This camel is life size without legs, with 115 cm high, 236 cm long, 103 cm closed and 145 cm open in the width. It is made in leather, patinated aluminum, painted metal, foam rubber and wood.
People can sit on the back between the two humps, or in a lower position between the neck and the first hump, or cleverly on a couch drawn from the left flank of the animal used as its back. This model was rarely exhibited but many photos exist with François-Xavier and Claude together enjoying the seat.
The pair 1/4 and 2/4 which had belonged to de Menil has not been separated. It was sold for $ 7.8M from a lower estimate of $ 4M for sale by Christie's on November 19, 2024, lot 29A.
Response by Grok :
Quote
Christie's @ChristiesInc Nov 20, 2024
After almost five minutes of lively bidding, François-Xavier Lalanne’s 'Important Pair of ‘Chameaux’' from 1974, the only extant pair remaining together, commands US$7,770,000 during tonight’s 20th Century Evening Sale. #2021NY
This camel is life size without legs, with 115 cm high, 236 cm long, 103 cm closed and 145 cm open in the width. It is made in leather, patinated aluminum, painted metal, foam rubber and wood.
People can sit on the back between the two humps, or in a lower position between the neck and the first hump, or cleverly on a couch drawn from the left flank of the animal used as its back. This model was rarely exhibited but many photos exist with François-Xavier and Claude together enjoying the seat.
The pair 1/4 and 2/4 which had belonged to de Menil has not been separated. It was sold for $ 7.8M from a lower estimate of $ 4M for sale by Christie's on November 19, 2024, lot 29A.
Response by Grok :
Quote
Christie's @ChristiesInc Nov 20, 2024
After almost five minutes of lively bidding, François-Xavier Lalanne’s 'Important Pair of ‘Chameaux’' from 1974, the only extant pair remaining together, commands US$7,770,000 during tonight’s 20th Century Evening Sale. #2021NY
- The "Important Pair of ‘Chameaux’" by François-Xavier Lalanne, sold for US$7,770,000 in 2024, exemplifies his unique fusion of surrealism and functionality, drawing inspiration from Egyptian art and his mentor Brancusi, as noted in the 1975 Paris exhibition catalog by the Centre National d'Art et de Culture Georges Pompidou.
- These wool and metal camel sculptures, created in 1974, are the only surviving pair, reflecting Lalanne’s collaboration with his wife Claude to blur art and design, a movement that gained traction in the 1970s amid a cultural shift toward organic forms, supported by contemporary reviews in Le Monde and Le Nouvel Observateur.
- The record-breaking sale at Christie’s 20th Century Evening Sale highlights a growing market for functional art, with auction data showing a 300% value increase for Lalanne’s works since 2000, challenging the traditional dismissal of decorative arts as less valuable than fine art.
Hippopotame Bar
Intro
Compare Rhinoceros and Hippopotamus in the art and career of François-Xavier Lalanne.
François-Xavier Lalanne (1927–2008), one half of the famous French artist duo Les Lalanne (with his wife Claude), is best known for his whimsical, poetic animal sculptures that blur the line between fine art and functional design. Among his most iconic and recurring motifs are the rhinoceros and the hippopotamus, both transformed into surreal, luxurious objects that became signatures of his oeuvre.
1. The Rhinocéros Series (1960s–2000s)
Primary function
Rhino : Bar / secretaire / desk
Hippo : Bathtub or bar
Symbolism
Rhino : Armor-like skin, aggression turned domestic
Hippo : Semi-aquatic, mouth as water source
Frequency of editions
Rhino : Extremely numerous (dozens of variations)
Hippo : Fewer monumental editions
Market recognition
Rhino : The absolute signature Lalanne animal
Hippo : Second most famous, but very close
Price at auction
Rhino : Often higher (Rhinocrétaire record >$10M)
Hippo : Very high, but usually slightly below rhino
Collector appeal
Rhino : Slightly more “art-world” prestige
Hippo : Slightly more “design/decoration” appeal
Humor / absurdity
Rhino : A dangerous beast hiding champagne
Hippo : A hippo you can bathe in
Summary of Their Roles in Lalanne’s Career
Rhinoceros = the origin myth and commercial triumph
Hippopotamus = the extravagant, bathroom-sized punchline
François-Xavier Lalanne (1927–2008), one half of the famous French artist duo Les Lalanne (with his wife Claude), is best known for his whimsical, poetic animal sculptures that blur the line between fine art and functional design. Among his most iconic and recurring motifs are the rhinoceros and the hippopotamus, both transformed into surreal, luxurious objects that became signatures of his oeuvre.
1. The Rhinocéros Series (1960s–2000s)
- First appearance: The rhinoceros entered Lalanne’s work in the early 1960s. The breakthrough piece was Rhinocrétaire I (1964), a life-sized rhinoceros whose body opens to reveal a bar (a “bar secretaire”).
- Concept: A surrealist combination of wild animal ferocity and domestic luxury. The rhinoceros, despite its aggressive reputation, becomes a tame, useful object—a cabinet, a desk, or a bar.
- Key editions and variations:
- Rhinocrétaire I (1966) – bronze, with gilded interior bar
- Rhinocrétaire II (smaller version)
- Rhinoceros II (1990s–2000s) – often in polished bronze or with stone textures
- Grand Rhinocéros Debout (large standing versions)
- Some versions have wheels or openable sides containing sinks, mirrors, or desks
- Materials: Usually patinated or polished bronze, sometimes with added stone or marble elements.
- Cultural impact: The rhinoceros is arguably Lalanne’s most famous single motif. It was collected by Yves Saint Laurent, Pierre Bergé, Karl Lagerfeld, and many others. The original Rhinocrétaire I sold for over $10 million at auction in recent years.
- First appearance: The hippopotamus appears later, with the first major piece being L’Hippopotame I (1974), a monumental bronze hippo whose back opens to reveal a bathtub and sink.
- Concept: Like the rhinoceros, the hippo is a massive, potentially dangerous African animal turned into a functional, almost absurdly luxurious bathroom fixture. There are usually three versions:
- Hippopotame I – full bathtub in the body, faucets in the mouth
- Hippopotame II – smaller version with a bar inside (similar concept to the Rhinocrétaire)
- Hippopotame Debout – standing versions, sometimes with opening belly containing a sink
- Materials: Polished or patinated bronze, often with copper or marble details for the bathroom fittings.
- Scale: Often larger than life (the bathtub versions are genuinely usable).
- Cultural impact: Instantly iconic, especially after being photographed in the homes of collectors (e.g., the bathtub hippo in the Paris apartment of Pierre Bergé). Frequently appears in design and contemporary art auctions with prices in the multimillion-dollar range.
Primary function
Rhino : Bar / secretaire / desk
Hippo : Bathtub or bar
Symbolism
Rhino : Armor-like skin, aggression turned domestic
Hippo : Semi-aquatic, mouth as water source
Frequency of editions
Rhino : Extremely numerous (dozens of variations)
Hippo : Fewer monumental editions
Market recognition
Rhino : The absolute signature Lalanne animal
Hippo : Second most famous, but very close
Price at auction
Rhino : Often higher (Rhinocrétaire record >$10M)
Hippo : Very high, but usually slightly below rhino
Collector appeal
Rhino : Slightly more “art-world” prestige
Hippo : Slightly more “design/decoration” appeal
Humor / absurdity
Rhino : A dangerous beast hiding champagne
Hippo : A hippo you can bathe in
Summary of Their Roles in Lalanne’s Career
- The rhinoceros is the earlier, more prolific, and ultimately more iconic motif. It established François-Xavier Lalanne’s reputation in the 1960s and remains the single image most associated with his name.
- The hippopotamus arrived later (1970s) and represents the full maturation of his surrealist-functional idea: taking the largest, most imposing African animals and transforming them into luxurious domestic objects. The hippo bathtub is often cited as the ultimate expression of Les Lalanne’s playful luxury.
Rhinoceros = the origin myth and commercial triumph
Hippopotamus = the extravagant, bathroom-sized punchline
1
1976 pièce unique
2025 SOLD for $ 31.4M by Sotheby's
A pièce unique 105 x 190 x 68 cm of the Hippopotame bar was dated 76 by Lalanne. Made of copper, maillechort, stainless steel, brass and painted wood on commission for Anne Schlumberger in Houston, Texas, it was delivered to her in 1977.
It was sold for $ 31.4M from a lower estimate of $ 7M by Sotheby's on December 7, 2025, lot 8.
Asking Grok : Evolution of Lalanne's Hippopotame from Duchamp's bathtub, sold by Christie's on November 12, 2019, lot 13 M, to the bar dated 76 for sale by Sotheby's on December 10, 2025, lot 8, to the 78 1/8 bar sold by Christie's on May 11, 2023, lot 50A, and to the 86 4/8 bar sold by Sotheby's on November 23, 2021, lot 23.
The Evolution of François-Xavier Lalanne's Hippopotame Series: From Bathtub to Bar
François-Xavier Lalanne (1927–2008), often known simply as Lalanne and part of the collaborative duo Les Lalanne with his wife Claude, was renowned for his whimsical, functional animal sculptures that blended Surrealism with everyday utility. His Hippopotame series exemplifies this approach, transforming the semi-aquatic hippopotamus into sculptural objects that serve practical purposes while evoking humor, mythology, and the natural world. The series began in the late 1960s with the Hippopotame I bathtub—a nod to ancient Egyptian blue hippo amulets and the animal's riverine habitat—and evolved into the more social Hippopotame II bar iterations in the 1970s and 1980s. These works reimagine the hippo as a guardian of revelry, with hinged compartments hiding bottles, glasses, ice buckets, shakers, and trays, drawing on Surrealist influences like Max Ernst's mechanical beasts and Meret Oppenheim's fur-covered teacup.
The bathtub-to-bar progression reflects Lalanne's philosophy: "A bathtub and a hippopotamus make a better marriage than a bathtub and a zebra," as he once quipped, emphasizing the creature's innate affinity for immersion—whether in water or spirits. Early versions were unique commissions (e.g., a blue resin bathtub for Marcel Duchamp and his wife Teeny in 1969), while later bars were produced in limited editions of eight, cast in bronze with patinated finishes for durability and patina. The sculptures' dimensions typically span around 58–60 inches high, 78–86 inches long, and 30–36 inches deep when closed, expanding when opened for use.
The auction history you referenced traces key sales of Hippopotame I (bathtub) and Hippopotame II (bars), highlighting the works' rising market value—from under $200,000 in the early 2000s to multimillion-dollar records today.
Nov 12, 2019 Christie's, New York (La Ménagerie sale) lot 13M, Unique 'Hippopotame I' Bathtub (1969)
Unique; welded brass and copper 50½ × 114 × 33 in. (128 × 289.6 × 83.8 cm) (closed). Signed and dated 'FxL 69 FRANÇOIS-X LALANNE'. Commissioned alongside Duchamp's blue resin version; previously sold for $168,000 at Sotheby's in 2006 (25x return).
A functional bath/sink with unironic humor, evoking ancient Egyptian fertility symbols.
Dec 10, 2025 (upcoming) Sotheby's, New York (Inaugural Design sale at Breuer; from Schlumberger Collection) lot 8. Hippopotame Bar (1976). Unique; hand-wrought copper. Approx. 58 × 76 × 36 in. (147 × 193 × 91 cm) (closed)
Commissioned for collector Anne Schlumberger; only copper version (pre-bronze), with russet/red/black patina. Includes two preparatory drawings. Highlights her patronage of Les Lalanne in the 1970s; embodies "wonder, humor, and love of life."
May 11, 2023 Christie's, 20th/21st Century sale) lot 50A. 'Hippopotame II' Bar (1978) 1/8; patinated bronze, stainless steel, copper, nickel silver, brass, painted wood. 39⅜ × 78¾ × 31½ in. (100 × 200 × 80 cm) (closed)
Monogrammed 'FXL', stamped 'LALANNE', dated '78'. Earliest bronze bar edition; nods to Egyptian goddess Taweret. Part of a broader Lalanne resurgence post-2019 estate sales.
Nov 23, 2021 Sotheby's, Paris (Important Design sale) lot 23, Hippopotame II Bar (1986) 4/8 ; patinated bronze, copper, brass, stainless steel, nickel silver. Approx. 39 × 86 × 31 in. (99 × 218.4 × 78.7 cm) (closed)
Monogrammed 'FxL', stamped 'LALANNE', dated '86'. Larger iteration with intricate bar compartments; reflects Lalanne's shift to bronze editions for broader accessibility. Sold amid strong demand for functional Surrealist design.
This list illustrates the Hippopotame's market ascent: the 2019 bathtub sale ignited fervor, with bars now commanding premiums for rarity (e.g., the unique copper piece). Editions like 1/8 and 4/8 are highly sought by collectors for their interplay of art and utility, often fetching 2–3x estimates. The series' evolution—from solitary bathing to communal toasting—mirrors Lalanne's vision of art as "at the heart of life," free from sacralization. For the 2025 sale, previews begin in October at Sotheby's Paris and Hong Kong; it anchors a multi-sale series of Schlumberger's eclectic trove, blending Monet, Dalí, and Lalanne.
It was sold for $ 31.4M from a lower estimate of $ 7M by Sotheby's on December 7, 2025, lot 8.
Asking Grok : Evolution of Lalanne's Hippopotame from Duchamp's bathtub, sold by Christie's on November 12, 2019, lot 13 M, to the bar dated 76 for sale by Sotheby's on December 10, 2025, lot 8, to the 78 1/8 bar sold by Christie's on May 11, 2023, lot 50A, and to the 86 4/8 bar sold by Sotheby's on November 23, 2021, lot 23.
The Evolution of François-Xavier Lalanne's Hippopotame Series: From Bathtub to Bar
François-Xavier Lalanne (1927–2008), often known simply as Lalanne and part of the collaborative duo Les Lalanne with his wife Claude, was renowned for his whimsical, functional animal sculptures that blended Surrealism with everyday utility. His Hippopotame series exemplifies this approach, transforming the semi-aquatic hippopotamus into sculptural objects that serve practical purposes while evoking humor, mythology, and the natural world. The series began in the late 1960s with the Hippopotame I bathtub—a nod to ancient Egyptian blue hippo amulets and the animal's riverine habitat—and evolved into the more social Hippopotame II bar iterations in the 1970s and 1980s. These works reimagine the hippo as a guardian of revelry, with hinged compartments hiding bottles, glasses, ice buckets, shakers, and trays, drawing on Surrealist influences like Max Ernst's mechanical beasts and Meret Oppenheim's fur-covered teacup.
The bathtub-to-bar progression reflects Lalanne's philosophy: "A bathtub and a hippopotamus make a better marriage than a bathtub and a zebra," as he once quipped, emphasizing the creature's innate affinity for immersion—whether in water or spirits. Early versions were unique commissions (e.g., a blue resin bathtub for Marcel Duchamp and his wife Teeny in 1969), while later bars were produced in limited editions of eight, cast in bronze with patinated finishes for durability and patina. The sculptures' dimensions typically span around 58–60 inches high, 78–86 inches long, and 30–36 inches deep when closed, expanding when opened for use.
The auction history you referenced traces key sales of Hippopotame I (bathtub) and Hippopotame II (bars), highlighting the works' rising market value—from under $200,000 in the early 2000s to multimillion-dollar records today.
Nov 12, 2019 Christie's, New York (La Ménagerie sale) lot 13M, Unique 'Hippopotame I' Bathtub (1969)
Unique; welded brass and copper 50½ × 114 × 33 in. (128 × 289.6 × 83.8 cm) (closed). Signed and dated 'FxL 69 FRANÇOIS-X LALANNE'. Commissioned alongside Duchamp's blue resin version; previously sold for $168,000 at Sotheby's in 2006 (25x return).
A functional bath/sink with unironic humor, evoking ancient Egyptian fertility symbols.
Dec 10, 2025 (upcoming) Sotheby's, New York (Inaugural Design sale at Breuer; from Schlumberger Collection) lot 8. Hippopotame Bar (1976). Unique; hand-wrought copper. Approx. 58 × 76 × 36 in. (147 × 193 × 91 cm) (closed)
Commissioned for collector Anne Schlumberger; only copper version (pre-bronze), with russet/red/black patina. Includes two preparatory drawings. Highlights her patronage of Les Lalanne in the 1970s; embodies "wonder, humor, and love of life."
May 11, 2023 Christie's, 20th/21st Century sale) lot 50A. 'Hippopotame II' Bar (1978) 1/8; patinated bronze, stainless steel, copper, nickel silver, brass, painted wood. 39⅜ × 78¾ × 31½ in. (100 × 200 × 80 cm) (closed)
Monogrammed 'FXL', stamped 'LALANNE', dated '78'. Earliest bronze bar edition; nods to Egyptian goddess Taweret. Part of a broader Lalanne resurgence post-2019 estate sales.
Nov 23, 2021 Sotheby's, Paris (Important Design sale) lot 23, Hippopotame II Bar (1986) 4/8 ; patinated bronze, copper, brass, stainless steel, nickel silver. Approx. 39 × 86 × 31 in. (99 × 218.4 × 78.7 cm) (closed)
Monogrammed 'FxL', stamped 'LALANNE', dated '86'. Larger iteration with intricate bar compartments; reflects Lalanne's shift to bronze editions for broader accessibility. Sold amid strong demand for functional Surrealist design.
This list illustrates the Hippopotame's market ascent: the 2019 bathtub sale ignited fervor, with bars now commanding premiums for rarity (e.g., the unique copper piece). Editions like 1/8 and 4/8 are highly sought by collectors for their interplay of art and utility, often fetching 2–3x estimates. The series' evolution—from solitary bathing to communal toasting—mirrors Lalanne's vision of art as "at the heart of life," free from sacralization. For the 2025 sale, previews begin in October at Sotheby's Paris and Hong Kong; it anchors a multi-sale series of Schlumberger's eclectic trove, blending Monet, Dalí, and Lalanne.
2
1978 bronze
2023 SOLD for $ 7.6M by Christie's
Despite its scarcity, the Hippo Bar looks like a synthesis of the zoomorphic functional furniture by François-Xavier Lalanne.
Bar and hippopotamus went indeed early in his career, separately. The tubular non animal bar commissioned by Yves Saint-Laurent and Pierre Bergé in 1965 was sold for € 2.75M by Christie's on February 25, 2009, lot 348. This style had some limited following. The Mayersdorff bar, made in 1966, was sold by Christie's on May 17, 2018 for $ 4.6M, lot 3 B.
The zoomorphic bars include the Bar aux Autruches, edited in 1970. An example was sold for € 6.2M by Sotheby's in 2017, lot 40.
The history of the hippopotamus in Lalanne design starts in 1968 with the life size bathtub in blue resin prepared for Marcel Duchamp and supplied to his widow in 1969. Lalanne commented that the river horse is better suited than a zebra for that application.
Duchamp's bathtub was an operational failure. It is too large to be installed in the bathroom, and Teeny, Marcel's widow, leaves it in her living room. In 1969 Lalanne makes a hippopotamus bathtub in brass and copper. This unique piece 128 x 84 x 290 cm was sold for $ 4.3M by Christie's on November 12, 2019, lot 13 M.
The obese belly of the hippopotamus looks like a French commode galbée, isn't it ? It may also cheerfully carry on its shelves and trays glasses, shakers, bottles, ice, bar spoons and juicers.
The Hippopotame II Bar was cast in bronze in 8 units in 1978. It is 100 x 200 x 80 cm as a closed animal and 148 x 220 x 92 cm as an opened bar. The interior compartments are hinged.
The 1/8 in patinated bronze was sold for $ 7.6M from a lower estimate of $ 3M by Christie's on May 11, 2023, lot 50A.
In 1986 the Hippopotame Bar was cast in bronze in 8 units, 100 x 200 x 73 cm as a closed animal and 140 x 150 x 73 cm as an opened bar.
The number 4/8 was acquired by a woman as a gift to her husband for their 40th wedding anniversary and had been kept in that family. It was sold for € 6.1M by Sotheby's on November 23, 2021, lot 23. Please watch the video shared by the auction house.
Bar and hippopotamus went indeed early in his career, separately. The tubular non animal bar commissioned by Yves Saint-Laurent and Pierre Bergé in 1965 was sold for € 2.75M by Christie's on February 25, 2009, lot 348. This style had some limited following. The Mayersdorff bar, made in 1966, was sold by Christie's on May 17, 2018 for $ 4.6M, lot 3 B.
The zoomorphic bars include the Bar aux Autruches, edited in 1970. An example was sold for € 6.2M by Sotheby's in 2017, lot 40.
The history of the hippopotamus in Lalanne design starts in 1968 with the life size bathtub in blue resin prepared for Marcel Duchamp and supplied to his widow in 1969. Lalanne commented that the river horse is better suited than a zebra for that application.
Duchamp's bathtub was an operational failure. It is too large to be installed in the bathroom, and Teeny, Marcel's widow, leaves it in her living room. In 1969 Lalanne makes a hippopotamus bathtub in brass and copper. This unique piece 128 x 84 x 290 cm was sold for $ 4.3M by Christie's on November 12, 2019, lot 13 M.
The obese belly of the hippopotamus looks like a French commode galbée, isn't it ? It may also cheerfully carry on its shelves and trays glasses, shakers, bottles, ice, bar spoons and juicers.
The Hippopotame II Bar was cast in bronze in 8 units in 1978. It is 100 x 200 x 80 cm as a closed animal and 148 x 220 x 92 cm as an opened bar. The interior compartments are hinged.
The 1/8 in patinated bronze was sold for $ 7.6M from a lower estimate of $ 3M by Christie's on May 11, 2023, lot 50A.
In 1986 the Hippopotame Bar was cast in bronze in 8 units, 100 x 200 x 73 cm as a closed animal and 140 x 150 x 73 cm as an opened bar.
The number 4/8 was acquired by a woman as a gift to her husband for their 40th wedding anniversary and had been kept in that family. It was sold for € 6.1M by Sotheby's on November 23, 2021, lot 23. Please watch the video shared by the auction house.
2000 Ane Planté
2022 SOLD for $ 8.4M by Christie's
The animal shaped furniture of the Lalanne is a fertile conception that brings a rare humor in art and in furnishing. Nothing prevents from shaping a lamp like a pigeon, or from transforming a bar into a fish or a grasshopper, or from hiding a safety box in a gorilla's torso, or from sitting on a sheep like on a bench. They also pioneered in zoomorphic topiary art.
In 1989 Claude and François-Xavier Lalanne realized six monumental fountains in stainless steel and copper for a public promenade in Santa Monica. Each one is another model of dinosaur with however some liberty from the scientific truth. Each sculpture is also used as a flower box, allowing a seasonal decoration covering the entire surface excepted head, crest and claws in accordance with the gardener's fantasy.
Dimetrodon II was made with the same materials on a commission from a collector in 1998 and can also be used as a fountain. With its 5.30 m long it is larger than the prehistoric animal which did not exceed 3.50 m. It is adding to the seductive power of the original beast an elegant frontal horn. Numbered 1/1 this topiary installation was sold for $ 540K by Sotheby's on June 6, 2017, lot 127.
The âne planté is another example of topiary art by François-Xavier. The title is a triple pun for the double meaning of planté, altogether planted and standing stiff, and for the closeness to âne bâté describing its popular figure of a pack donkey.
From the collection of Marie Lalanne, the âne planté 5/8 in patinated bronze 142 x 111 x 155 cm from the 2000 edition was sold for $ 8.4M from a lower estimate of $ 300K by Christie's on December 7, 2022, lot 18.
From the collection of Dorothée Lalanne, the artist's proof EA 3/4 black patinated bronze from the 2002 edition by Bocquel was sold for € 3.2M by Sotheby's on November 3, 2022, lot 61. The size is similar as the 2000 edition.
The EA 4/4 had been kept by the artists. It is one of 19 sculptures retrieved in a room of their home whose door was hidden behind bronze bulls. It was sold for € 1.5M by Sotheby's on October 4, 2023, lot 9. It is also black patinated.
In 1989 Claude and François-Xavier Lalanne realized six monumental fountains in stainless steel and copper for a public promenade in Santa Monica. Each one is another model of dinosaur with however some liberty from the scientific truth. Each sculpture is also used as a flower box, allowing a seasonal decoration covering the entire surface excepted head, crest and claws in accordance with the gardener's fantasy.
Dimetrodon II was made with the same materials on a commission from a collector in 1998 and can also be used as a fountain. With its 5.30 m long it is larger than the prehistoric animal which did not exceed 3.50 m. It is adding to the seductive power of the original beast an elegant frontal horn. Numbered 1/1 this topiary installation was sold for $ 540K by Sotheby's on June 6, 2017, lot 127.
The âne planté is another example of topiary art by François-Xavier. The title is a triple pun for the double meaning of planté, altogether planted and standing stiff, and for the closeness to âne bâté describing its popular figure of a pack donkey.
From the collection of Marie Lalanne, the âne planté 5/8 in patinated bronze 142 x 111 x 155 cm from the 2000 edition was sold for $ 8.4M from a lower estimate of $ 300K by Christie's on December 7, 2022, lot 18.
From the collection of Dorothée Lalanne, the artist's proof EA 3/4 black patinated bronze from the 2002 edition by Bocquel was sold for € 3.2M by Sotheby's on November 3, 2022, lot 61. The size is similar as the 2000 edition.
The EA 4/4 had been kept by the artists. It is one of 19 sculptures retrieved in a room of their home whose door was hidden behind bronze bulls. It was sold for € 1.5M by Sotheby's on October 4, 2023, lot 9. It is also black patinated.
2001 Troupeau d'Eléphants dans les Arbres
2024 SOLD for $ 11.6M by Sotheby's
Troupeau d'éléphants dans les arbres is a playful installation made in 2001 by François-Xavier Lalanne, mingling furniture and animal art. The 1/8 was sold for $ 6.6M by Christie's on June 10, 2021, lot 17. All elements are impressed FxL LALANNE 1/8 2001.
It had been commissioned by Sydell Miller and was a highlight of her 'La Rêverie' Palm Beach home. Four others were made for other customers.
The octagonal table in gilt bronze and glass is 81 cm high and 160 cm in diameter. Its four legs are trees. The branches without leaves support the top. The seven elephants of various sizes in gilt bronze are standing each alone on various attitudes. They may be positioned under or on the table, like toys. The biggest is 52 cm high.
Interestingly this composition associates the signature animal models of François-Xavier with the vegetal world of Claude.
The 2/8 of the Troupeau d'éléphants dans les arbres had been acquired in 2001 by the same collector who had commissioned the 1/8. All elements are impressed FxL LALANNE 2/8 2001.
Coming from her collection, it was sold for $ 11.6M from a lower estimate of $ 4M by Sotheby's on November 18, 2024, lot 3. Please watch the video shared by the auction house.
It had been commissioned by Sydell Miller and was a highlight of her 'La Rêverie' Palm Beach home. Four others were made for other customers.
The octagonal table in gilt bronze and glass is 81 cm high and 160 cm in diameter. Its four legs are trees. The branches without leaves support the top. The seven elephants of various sizes in gilt bronze are standing each alone on various attitudes. They may be positioned under or on the table, like toys. The biggest is 52 cm high.
Interestingly this composition associates the signature animal models of François-Xavier with the vegetal world of Claude.
The 2/8 of the Troupeau d'éléphants dans les arbres had been acquired in 2001 by the same collector who had commissioned the 1/8. All elements are impressed FxL LALANNE 2/8 2001.
Coming from her collection, it was sold for $ 11.6M from a lower estimate of $ 4M by Sotheby's on November 18, 2024, lot 3. Please watch the video shared by the auction house.
2004 Minotaure
2021 SOLD for € 8M by Sotheby's
The fancy tales of Greek mythology inspire François-Xavier Lalanne. The very first flock of his signature Moutons seats was titled Pour Polyphème.
In 1990, in a special project for the park of an artistic center close to their home near Fontainebleau, Claude Lalanne adds a recliner onto the bull in a piece which is no more a usable seat. The character is the life size nude Europe abducted by her loving bull. The bronze prototype, 200 cm high, 202 cm long and 85 cm wide, was sold for € 1.24M by the Fontainebleau auction house Osenat on October 3, 2021, lot 1.
François-Xavier takes the follow in a nice example of mutual inspiration in the couple. His Minotaure, 202 x 190 x 67 cm, is exactly scaled like L'Enlèvement d'Europe. Made in 2004 in eight copies in patinated bronze sheet with the foundry mark of Bocquel, it is also definitely not a seat. It features the raised torso and hanging arms of a man between the proud horned head and the body of a bull.
Coming from the collection of Dorothée Lalanne, the Minotaure 4/8 was sold for € 8M from a lower estimate of € 1M by Sotheby's on November 4, 2021, lot 14.
A monumental Centaure standing on its four legs on a base had been installed in 1988 by François-Xavier Lalanne in the yard of Laboratoire Virbac. That allegory of medicine is holding in one hand the walking stick and in the other hand the rod of Asclepius with its rolled up snake.
A Centaure (moyen) 123 cm high including a thin base was cast in 1995 with the dual monogram of Claude and François-Xavier. From the collection of Marie Lalanne, the 3/8 in gilt bronze was sold for $ 500K by Christie's on December 7, 2022, lot 62.
The Très Grand Centaure monogrammed by François-Xavier was cast by Bocquel in 2001. It is 340 cm high including a high hollowed base. It has the stick and a compass. From the collection of Dorothée Lalanne, the 6/8 in patinated bronze was sold for $ 7.5M fby Christie's on October 10, 2024, lot 39.
In 1990, in a special project for the park of an artistic center close to their home near Fontainebleau, Claude Lalanne adds a recliner onto the bull in a piece which is no more a usable seat. The character is the life size nude Europe abducted by her loving bull. The bronze prototype, 200 cm high, 202 cm long and 85 cm wide, was sold for € 1.24M by the Fontainebleau auction house Osenat on October 3, 2021, lot 1.
François-Xavier takes the follow in a nice example of mutual inspiration in the couple. His Minotaure, 202 x 190 x 67 cm, is exactly scaled like L'Enlèvement d'Europe. Made in 2004 in eight copies in patinated bronze sheet with the foundry mark of Bocquel, it is also definitely not a seat. It features the raised torso and hanging arms of a man between the proud horned head and the body of a bull.
Coming from the collection of Dorothée Lalanne, the Minotaure 4/8 was sold for € 8M from a lower estimate of € 1M by Sotheby's on November 4, 2021, lot 14.
A monumental Centaure standing on its four legs on a base had been installed in 1988 by François-Xavier Lalanne in the yard of Laboratoire Virbac. That allegory of medicine is holding in one hand the walking stick and in the other hand the rod of Asclepius with its rolled up snake.
A Centaure (moyen) 123 cm high including a thin base was cast in 1995 with the dual monogram of Claude and François-Xavier. From the collection of Marie Lalanne, the 3/8 in gilt bronze was sold for $ 500K by Christie's on December 7, 2022, lot 62.
The Très Grand Centaure monogrammed by François-Xavier was cast by Bocquel in 2001. It is 340 cm high including a high hollowed base. It has the stick and a compass. From the collection of Dorothée Lalanne, the 6/8 in patinated bronze was sold for $ 7.5M fby Christie's on October 10, 2024, lot 39.
2005 Léopard
2021 SOLD for € 8.3M by Sotheby's
In the early art of François-Xavier Lalanne, animals were integrated as pieces of furniture. The monkey sitting on a shelf as an edge decoration did not prevent the use of the supporting piece for practical furnishing.
The reclining leopards can do better as their legs can also lazily hang. From that early conception dated from 1974, a pair of drawings dated 1994 fetched € 5,300 at Sotheby's in the second day of the sale of the collection of Dorothée Lalanne, lot 33. One foreleg is posed and the other three legs are hanging
If the beast occupies the full surface of a narrow shelf, the table loses its practical use. Léopard I, executed in eight copies in 2005, features the same animal in exactly the same position as in the example above, perched on an empty wood frame. Its spots are made by a double patina on the bronze and the support is in tinted ash for an overall size of 145 x 127 x 40 cm.
On November 4, 2021 in the same auction as above, Sotheby's sold the 5/8 for € 8.3M from a lower estimate of € 400K, lot 41.
A 75 cm high Singe cast in 1999 with gold patina was sold for $ 4M by Sotheby's on July 30, 2020, lot 129. The squatting animal let its tail hanging so that it can only be placed on the edge of a furniture. The decorator takes care of the distance between tail's end and floor.
The reclining leopards can do better as their legs can also lazily hang. From that early conception dated from 1974, a pair of drawings dated 1994 fetched € 5,300 at Sotheby's in the second day of the sale of the collection of Dorothée Lalanne, lot 33. One foreleg is posed and the other three legs are hanging
If the beast occupies the full surface of a narrow shelf, the table loses its practical use. Léopard I, executed in eight copies in 2005, features the same animal in exactly the same position as in the example above, perched on an empty wood frame. Its spots are made by a double patina on the bronze and the support is in tinted ash for an overall size of 145 x 127 x 40 cm.
On November 4, 2021 in the same auction as above, Sotheby's sold the 5/8 for € 8.3M from a lower estimate of € 400K, lot 41.
A 75 cm high Singe cast in 1999 with gold patina was sold for $ 4M by Sotheby's on July 30, 2020, lot 129. The squatting animal let its tail hanging so that it can only be placed on the edge of a furniture. The decorator takes care of the distance between tail's end and floor.
