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Amedeo Modigliani

Italy (Livorno 1884Parigi 1920 ) - Artworks Wikipedia® - Amedeo Modigliani
MODIGLIANI Amedeo Cariatide

Christie's /Nov 6, 2014
89,014.17 - 133,521.25
199,544.20

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Artworks in Arcadja
691

Some works of Amedeo Modigliani

Extracted between 691 works in the catalog of Arcadja
Amedeo Modigliani - Femme Aux Mains Sur Le Visage

Amedeo Modigliani - Femme Aux Mains Sur Le Visage

Original c.1918
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Lot number: 539
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Amedeo Modigliani (Livorno 1884–1920) 1. Femme aux mains sur le visage, circa 1918, pencil on squared paper, 14.3 x 9.3 cm, framed, (AR) Provenance: Leopold Zborowski (1889-1932), Paris; Robert Lebel (1904-1986), Paris; European Private Collection Exhibitions: Paris, Galerie Charpentier, Cent tableaux de Modigliani, April - May 1958, exh. cat., page 26 Milan, Fondazione Antonio Mazzotta, Il Disegno del nostro secolo. Da Klimt a Wols, 11 April - 10 July 1994, exh. cat. Jean-Jacques Lebel, Gabriele Mazzotta and Edward Rathke (eds), no. 29 with ill. Cortina d’’’’Ampezzo, Galleria d’’’’Arte Frediano Farsetti, 7-31 August 2002 Milan, Farsettiarte, 25 September - 12 October 2002 Modigliani. Disegni e Acquerelli, exh. cat., pp. 78 and 79, no. 32 with ill. Literature: Osvaldo Patani, Amedeo Modigliani. Catalogo generale. Disegni 1906– 1920, Leonardo (ed.), Milan 1994, p. 250, no. 446 with ill. Christian Parisot, Modigliani. Catalogue Raisonné. Dessins, aquarelles, Carte Segrete (ed.), Rome 2006, vol. III, p. 226, no. 63/18 with ill. This work is accompanied by a rare, original carnet, to which it belonged. The notebook includes notes by the artist. 2. Zborowski en Saint Jean Baptiste, circa 1918, inscribed Jerusalem, Santo Giovani Battista, pencil on squared paper, 14.3 x 9.3 cm, framed, (AR) Provenance: Leopold Zborowski (1889-1932), Paris Robert Lebel (1904-1986), Paris European Private Collection Exhibitions: Paris, Galerie Charpentier, Cent tableaux de Modigliani, April - May 1958, exh. cat., p. 26 Paris Musée d’’’’Art Moderne de la Ville de Paris, Amedeo Modigliani 1884 – 1920, 26 March - 28 June 1981, exh. cat. by Daniel Marchesseau, page 200, no. 168 with ill. Milan, Fondazione Antonio Mazzotta, Il Disegno del nostro secolo. Da Klimt a Wols, 11 April - 10 July 1994, exh. cat., Jean-Jacques Lebel, Gabriele Mazzotta and Edward Rathke (eds.), no. 28, with ill. Cortina d’’’’Ampezzo, Galleria d’’’’Arte Frediano Farsetti, 7 - 31 August 2002 Milan, Farsettiarte, 25 September - 12 October 2002, Modigliani. Disegni e Acquarelli, exh. cat., pp. 78–79, no. 31 with ill. New York, The Jewish Museum, 21 May - 19 September 2004 Toronto, Art Gallery of Ontario, 23 October 2004 – 23 January 2005 Washington DC, The Phillips Collection, 19 February - 29 May 2005, Modigliani. Beyond the Myth, exh. cat., p. 178, no. 121, p. 211 with ill. Literature: Osvaldo Patani, Amedeo Modigliani. Catalogo generale. Disegni 1906 – 1920, Leonardo (ed.), Milan 1994, p. 250, no. 445 with ill. Christian Parisot, Modigliani. Catalogue Raisonné. Dessins, aquarelles, Carte Segrete (ed.), Rome 2006, vol. III, p. 226, no. 64/18, with ill. This work is accompanied by a rare, original carnet, to which it belonged. The notebook includes notes by the artist.
Amedeo Modigliani - Odalisque Blu (béatrice Hastings)

Amedeo Modigliani - Odalisque Blu (béatrice Hastings)

Original
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Lot number: 235
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Lot 235: Amedeo Modigliani, Odalisque blu (Béatrice Hastings), 1917/ 1918 Description: Signed 'modigliani' in pencil lower right. We would like to thank Ulf Küster, Fondation Beyeler Basel, for kind information. “The Cubist - or more accurately, the emphatically structural - elements gradually recede in Modigliani's art after 1916. He progressively lessens the faces' angular rendering, their subjection to linear or geometric divisions, their understanding primarily in terms of formal configurations. Their previously decidedly formal constraints made way for a greater naturalness and relaxedness. The portraits, which now also more often display the upper torso and the arms, were freed from those formal strictures in which formal freedom and formal confidence had previously found a particularly manifest form; precisely these manipulations had - beyond the depiction of the individual person - been the basis of the great aesthetic appeal of the portraits of 1915 and 1916. [...] Furthermore, the stylistic shift described here also applies to the drawings that always accompanied his work as a painter, regardless of whether or not they are related to specific paintings. Here, as well, the formalisms gradually disappear to be replaced by a free and melodious linear flow that is no longer interrupted by sharply accentuated interventions and can extend to the point of great elegance.” (Werner Schmalenbach, Die Bildnisse, in: Amedeo Modigliani, exhib. cat. Düsseldorf, op. cit., pp. 38/39). This specific form of elegance perceived by Schmalenbach in Modigliani's works of his later period is indubitably also to be found in the present sheet featuring a female half-figure nude, who possesses not only beautiful contours and a charming softness but also a poetic grace through the inclination of the head and through the feminine rounding of the figure in the shoulders and arms. In terms of the motif, she stirs reminiscences of sacred iconography and classic female figures in the history of Western art (Botticelli, Parmigianino), which were very familiar to Modigliani. The extraordinary depictions of the female nude in his oeuvre reflect this knowledge, and they are characterised by their combination of naturalness and a will to form. The profile of the face of the blue “Odalisque” resembles the physiognomy of Béatrice Hastings, who - as a friend of Max Jacob - was a part of the circle of Montparnasse and was Modigliani's lover for several years, leading us to believe that the nude of this watercolour may have been identified. 53.5/53.9 x 41.3 cm 1917/ 1918 Condition Report: The sheet slightly irregularly cut. - Minimally browned. Minor, narrow creases to the upper margin. Older, professionally closed marginal defects (tears). Notes: VAT: Margin scheme (+ import tax) Provenance: Albert Gleizes, Paris; Galerie Dr. Willi Raeber, Basel; Dr. Reinhold Hohl, Basel; Private collection, Basel; Galerie Beyeler, Basel (1975, most probably this sheet, documented in the Beyeler archive with the title "Odalisque Bleue (Luna Czechowska)"; Galerie Moos, Geneva (acquired there); Private collection, Lugano (since 1974) Exhibited: Basel 1960 (Galerie Beyeler); Lugano 1975 (Museo Villa la Malpensata), Maestri Europei del XX secolo, Dalle collezioni d'arte private ticinesi, cat. no. 107 ("Odalisca 1917"); Verona/ Turin/ Venice 1984/ 1985 (Galleria dello Scudo/ Palazzo Reale/ Cà Vendrami Calergi), Modigliani, Dipinti e disegni, Incontri italiani 1900-1920, cat. no. 51, illus. ("Odalisca Blu (Béatrice Hastings), 1917", the motif also used for the exhibition poster); Verona 1988 (Galleria Civica d'Arte Moderne e Contemporanea, Palazzo A. Forti), Modigliani a Montparnasse, illus. p. 62 ("Odalisque blu (Beatrice Hastings), 1917-1918"); Düsseldorf/ Zurich 1990/ 1991 (Kunstsammlung Nordrhein-Westfalen/ Kunsthaus Zürich), Amedeo Modigliani, cat. no. 139 ("Odaliske in Blau"); Takasaky/ Tokyo/ Kyoto 1994 (Municipal Museum/ Museum Takashimaya/ Takashimaya Gallery of Art), Montmartre et Les Peintres, cat. no. 121, illus. p. 93; Bonn 2009 (Kunst- und Ausstellungshalle der Bundesrepublik Deutschland), Amedeo Modigliani, Ein Mythos der Moderne, cat. no. 93, colour illus. ("Die blaue Odaliske (Beatrice Hastings"). - With several of the exhibition labels to the old frame backing card. Literature: Oswaldo Patani, Modigliani, Disegni, Mailand 1976, no. 59, colour illus. ("Odalisque blu, 1917/1918"); Christian Parisot, Modigliani, Catalogue Raisonné, Dessins, Aquarelles, vol. I, Livorno 1990, no. 45/17, illus. p. 316 ("Odalisque bleue"); Medium: Watercolour on thin, chamois coloured drawing paper Framed under glass
Amedeo Modigliani - Cariatide

Amedeo Modigliani - Cariatide

Original 1911
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Lot number: 148
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Amedeo Modigliani 1884 - 1920 CARIATIDE stamped with Paul Alexandre's collector mark (lower left) black crayon on paper 43 by 26.7cm., 17 by 10 1/2 in. Executed in 1910-11. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Paul Alexandre, Paris Private Collection, Pavia Galleria Galatea, Turin Galleria Il Milione, Milan Acquired from the above by the father of the present owner circa 1980s Exhibited Edinburgh, Royal Scottish Academy & London, Tate Gallery, Modigliani, 1963, no. 52 Paris, Musée d'Art Moderne de la ville de Paris, Amedeo Modigliani 1884-1920, 1981, no. 113, illustrated in the catalogue Verona, Galleria d'Arte Moderna e Contemporanea & Milan, Palazzo della Permanente, Modigliani à Montparnasse, 1988-89 Literature Ambrogio Ceroni, Modigliani, Dessins, Sculptures, Milan, 1965, no. 104, illustrated n.p. Joseph Lanthemann, Modigliani, 1884-1920, Catalogue raisonné, sa vie, son œuvre complet, son art, Barcelona, 1970, no. 538, illustrated p. 297 (dated 1911-12) Osvaldo Patani, Modigliani, Disegni, Milan, 1992, no. 7, illustrated n.p.
Amedeo Modigliani - Cariatide

Amedeo Modigliani - Cariatide

Original
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Lot number: 119
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Amedeo Modigliani (1884-1920) Cariatide signed 'Modigliani' (lower right) brush and brown ink and pencil on paper 21 ¼ x 16 7/8 in. (53.8 x 42.7 cm.) Executed in 1913 Sforni collection, Como (by 1958). Helen Serger (La Boétie), Inc., New York. Acquired from the above by the present owner, circa 1975. A. Ceroni, Amedeo Modigliani, Peintre, Milan, 1958, p. 70 (illustrated in color, p. 12). J. Lanthemann, Modigliani, Catalogue raisonné, sa vie, son oeuvre complet, son art, Barcelona, 1970, p. 141, no. 599 (illustrated, p. 308; dated 1914).
Amedeo Modigliani - Tête

Amedeo Modigliani - Tête

Original 1911
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Lot number: 8
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Amedeo Modigliani 1884 - 1920 TÊTE Stone Height: 28 3/4 in. 73 cm Carved in 1911-12. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Augustus John, Hampshire & London (acquired from the artist in 1912) Arthur Tooth & Sons, London (acquired from the above in 1955) Hanover Gallery, London (acquired from the above in 1956) Private Collection, Europe (acquired from the above in 1956) Acquired from the above Exhibited Paris, Grand Palais, Salon d’’Automne, 10e Exposition, 1912 Berne, Kunsthalle, Modigliani Campigli Sironi, 1955, no. 98, illustrated in the catalogue Literature Dorila, ‘Le Salon d’’Automne,’’ in La Vie Parisienne, Paris, 1912, no. 40, illustrated p. 713 ‘Au Salon d’’Automne,’’ in L’’Illustration, Paris, 1912, no. 3633, illustrated p. 268 Jeanne Modigliani, Modigliani: Man and Myth, New York , 1958, no. 68, illustrated pl. 68 Jeanne Modigliani, Modigliani sans légende, Paris, 1962, no. 65, illustrated Jeanne Modigliani, Modigliani senza leggenda, Florence, 1958, illustrated pl. 66 Ambrogio Ceroni, Amedeo Modigliani, dessins et sculptures, avec suite du catalogue illustré des peinture, Milan, 1965, no. XXII, p. 26, illustrated pls. 92-93 Alfred Werner, Modiglian the Sculptor, New York, 1962, no. 2, illustrated pp. 2-4 Ambrogio Ceroni, I dipinti di Modigliani, 1970, Milan, no. XXII, illustrated p. 109 Joseph Lanthemann, Modigliani, catalogue raisonné, Sa vie, son oeuvre complet, son art, Barcelona, 1970, no. 635, illustrated p. 317 Joseph Lanthemann & Christian Parisot, Modigliani Inconnu, suivi de precisions et documents inédits, Brescia, 1978, p. 21 Vera Durbé, Modigliani, gli anni della scultura, Milan, 1984, illustrated pl 22 Bernard Schuster & Arthur S. Pfannstiel, Modigliani, A Study of his Sculpture, Jacksonville, 1986, no. XXIV, illustrated p. 49 Osvaldo Patani, Amedeo Modigliani, catalogo generale, sculture e disegni, 1904-1914,Milan, 1992, no. 23, illustrated p. 62-63 Noël Alexandre, The Unknown Modigliani, Drawings from the Collection of Paul Alexandre, New York, 1993, illustrated p. 239 Modigliani and the Artists of Montparnasse (exhibition catalogue), Albright-Knox Art Gallery, Buffalo, 2002, photograph of the present work in situ at the Salon of 1912, p. 53 Modigliani Sculptor (exhibition catalogue), Museo di arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, 2010, illustrated pp. 23, 25, 47 & 121 Christian Parisot, Modigliani catalogue raisonné, Tome V, Rome, 2012, no. XXII/XXX, illustrated p. 134-135 Exceedingly rare, Modigliani's elegant stone carvings are among the most coveted works of modern art. While the majority these sculptures are in the collections of museums, the present work is the finest remaining in private hands. Tête that has the power to enthrall those who enter its realm. Created in the likeness of an ancient totem or deity, this magnificient carving was created in Modigliani's open-air studio at the Cité Falguière in Montparnasse. At night the artist would illuminate these sculptures by candlelight, creating a sacred space for his goddesses of stone. Those faced with the spectacle could not escape the power and allure of this beautiful figure. "The stone heads affected me strangely," confessed Augustus John, the British artist who purchased the present sculpture directly from Modigliani. "For some days afterwards I found myself under the hallucination of meeting people in the street who might have posed for them… Can ‘Modi’’ have discovered a new and secret aspect of ‘reality’’?" Even Modigliani was not immune to its transfixing effect. Jacques Lipchitz remembered that "Modigliani, when under the influence of hashish, embraced these sculptures." And Jacob Epstein, after visiting the studio one night when it was filled with nine or ten of these elongated heads, recalled that "when we had left him very late, he came running down the passage after us, calling us to come back like a frightened child" (quoted in Meryle Secrest, Modigliani, A Life, New York, 2011, p. 143). Such is the bewitching effect of Tête, a venerable idol of the avant-garde. Modigliani's work on Tête was a product of a devotional mania towards sculpture as an act of carving, or the liberation of form from a block of stone. His passion for this process was witnessed by many of his fellow artists at this time. The English painter Nina Hamnett observed that Modigliani "always regarded sculpture as his real métier, and it was probably only lack of money, the difficulty of obtaining material, and the amount of time required to complete a work in stone that made him return to painting during the last five years of his life" (in Alfred Werner, Modigliani the Sculptor, New York, 1962, p. XIX). Jacob Epstein, too, described Modigliani's fanatical approach to this medium and explained that his process was integral to his desired result: "Modigliani, like some others at the time, was very taken with the notion that sculpture was sick, that it had become very sick with Rodin and his influence. There was too much modeling in clay, too much 'mud.' The only way to save sculpture was to start carving again, direct carving in stone... the important thing was to give the carved stone the feeling of hardness, and that came from within the sculptor himself ... he worked furiously... without stopping to correct or ponder. He worked, it seemed, entirely by instinct - which was however extremely fine and sensitive, perhaps owing much to his Italian inheritance and his love of the painting of the early Renaissance masters" (reprinted in op. cit., p. 130). Modigliani’’s passionate avowal of direct carving is especially evident in the extraordinary richly varied surface texture of the present work; with passages alternating between an extremely fine, smooth finish to roughly hewn and chisel-marked. This expressive handling emphasized the creative process and the artist’’s dedication to his newly developed aesthetic. The present sculpture was created in 1911-12 from a single block of limestone known as pierre d'Euville, a porous rock quarried in a small town in eastern France. Modigliani scavenged the material from construction sites around Paris, carting it in a wheelbarrow back to the studios he shared with Constantin Brancusi, who instructed him in carving. While Brancusi's influence on Modigliani can surely be detected in his smooth carving here, another important influence was the streamlined, puckered-lipped Guro maskes from the Ivory Coast. Modigliani had seen many examples of these African ritualistic objects at the Musée du Trocadéro, and their impact was clearly recognizable upon visiting the artist's work space: "His studio at that time was a miserable hole within a courtyard where he worked," Lipchitz remembered. "It was then filled by nine or ten of those long heads which were suggested by African masks and one figure. They were carved in stone. I can see him as if it were today, stooping over those heads of his, explaining to me that he had concieved all of them as an ensemble. It seems to me that these heads were exhibited later the same year (1912) in the Salon d'Automne, arranged in step-wise fashion, like the tubes of an organ, to produce the special music he wanted" (quoted in ibid.). Modigliani's theatrical and poetic leanings with regard to his sculpture were reinforced by his acquaintance with the young Russian poet Anna Akhmatova, with whom he had an developed an intense relationship between 1910 through 1912. During the spring of 1911, Akhmatova was inseparable from Modigliani and wrote that "you could hear the knock of his mallet in the deserted alley" of his Montparnasse studio as he liberated the figures from their stone. While Tête bears the linear and elongated facial features that would define the paintings of his later years, the face that perhaps can be credited as a main inspiration for this sculpture is that of the young and striking Akhmatova. With her unusual Slavic beauty and taste for the melancholic poetry, Akhmatova left a lasting impression. "You are for me like a haunting memory," he wrote adoringly to her in 1911. Following their tour of the Egyptian Antiquities department at the Louvre that spring, Modigliani painted a portrait of Akhmatova dressed in the garb of an Egyptian queen, as well as several other representations of her with distinctly Egyptian embellishments. Her distinctive sharp profile became a constant feature in his production of this era, particularly in his representations of the Greek "princesses at the Temple of Diana," known as the Caryatids. The elegant Tête, with its elongated nose, densely piled sweep of hair and intensely regal bearing, is readily identifiable as an amalgam of these influences and the artist's adoration of this specific type of beauty. In his essay for the exhibition catalogue, Modigliani, Sculptor, Kenneth Wayne has written about the influence of antiquity on Modigliani's extraordinary sculptures: "Modigliani's sculptures share many characteristics with the Egyptian art that he loved so much and visited regularly at the Louvre. A quiet solemnity, a profound air of mystery and spirituality, blocky forms, blank almond-shaped eyes, a beatific smile, an imposing frontality and forward stare, and decorative elements in the hair and forehead. The blank eyes in Modigliani's sculpture also recall Greek and Roman sculptures as they have come down through time, with the painted elements worn off. Even the rough, unfinished quality of some of Modigliani's sculptures gives them the look and feel of bruised ancient Egyptian, Greek and Roman sculptures. Modigliani's favorite material too, limestone, was the same used to make the Great Pyramid and Great Sphinx in Giza and some Egyptian and Greek sculpture" (K. Wayne, "Modigliani, Modern Sculpture and the Influence of Antiquity," op. cit., p. 76). Tête was exhibited at the Salon d'Automne of 1912 in the famous Salle des Cubistes, a landmark exhibition in the history of modern art. The photograph of the Salle des Cubistes published in L'Illustration of October 12, 1912 shows the present work taking the dominant position on the far left, in the semi-circular arrangement described by Lipchitz. Modigliani's sculptures were on view alonside Cubist works by the pioneers of modernism including Léger and Kupka, and offered a sensual alternative to the more severe, geometricized works of his contemporaries. Following the exhibition, the present sculpture was acquired by Augustus John, the celebrated British artist who met Modigliani in Paris in 1912. In his memoirs John recalled the experience of first seeing this sculpture among its companion works in the artist's studio, where they had a lingering, transfixing impact on his consciousness: "D. [Dorelia McNeill] and I visited his studio in Montparnasse one day, and bought a couple of the stone heads he was making at the time. The floor was covered with them, all much alike and prodigiously long and narrow. Returning with us to Montparnasse after this transaction, “Modi” exclaimed, ‘Ah, comme c’’est chic d’’être dans le progrès!’’ and pressed into my hands his well-thumbed copy of Les Chants de Maldoror. This was his bible" (Augustus John, Chiaroscuro, London, 1954, p. 96). John prominently displayed the work first at Alderney and secondly at his final home, Fryern Court. The sculpture was subsequently sold in 1955 to Dudley Tooth and thence through the Hanover Gallery to a private collector in Europe. As Erica Brausen noted in a letter to the purchaser "In fact after Sir Augustus you are the only private collector to own it" (letter of 9 th July 1956 from E. Brausen, Director of the Hanover Gallery, London). Today, the present work is perhaps the finest stone carvings to remain in private hands. With approximately two dozen known in existence, the vast majority are in prominent museums, including the Barnes Foundation, Merion, Pennsylvania; Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; Philadelphia Museum of Art; Minneapolis Institute of Art; Fogg Art Museum, Harvard University; Tate Gallery, London; Kunsthalle, Karlsuhe, Germany; National Gallery of Australia, Canberra; Le Musée National d'Art Moderne, Centre Georges Pompidou, Paris; and the Musée d'Art Moderne Lille Métropole, Villeneuve d'Ascq. Fig. 1 Amedeo Modigliani with one of his stone carvings in progress in the courtyard of his studio in Cité Falguière, circa 1911-12 Fig. 2 Salon d’’’’Automne of 1912 featuring the present work among works by Frantisek Kupka, Henri Le Fauconnier, and Francis Picabia Fig. 3 Heads photographed in Cardoso’’’’s studio. The painter Amedeo de Souza Cardoso had allowed Modigliani to use his studio for an exhibition, which opened on Sunday March 5, 1911. Fig. 4 Amedeo Modigliani, Head of Caryatid, circa 1910-11, Verona, courtesy of Galleria dello Scudo, Private Collection Fig. 5 Amedeo Modigliani, Study for Sculptural Head , 1911-1912, Private Collection Fig. 6 Amedeo Modigliani, Study for a sculptural Head , 1911-12, Private Collection Fig. 7 The Russian poet Anna Akhmatova, 1910, who may have been an inspiration for the present sculpture Berlin Fig. 8 Thutmose, Bust of Nefertiti , Limestone and stucco, 1345 BC, Neues Museum, Berlin Fig. 9 Guro Mask, Ivory Coast, wood, monkey hair London, The British Museum Fig. 10 Constantin Brancusi, Mlle. Pogany , marble, 1912, Philadelphia Museum of Art Fig. 11 Photograph of Amedeo Modigliani, circa 1909 Fig. 12 Modigliani’’’’s studio at the Cité Falguière Fig. 13 Amedeo Modigliani, Tête , Stone, Solomon R. Guggenheim Museum, New York Fig. 14 The Caryatid Porch of the Erechtheion, Athens, 421-407 B.C.
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