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Some works sold by Sotheby's

Barbara Hepworth - Makutu

Barbara Hepworth - Makutu

Original 1969
Estimate:

Price:

Lot number: 1
Other WORKS AT AUCTION
Description:
Barbara Hepworth 1903 - 1975 MAKUTU Inscribed with the signature Barbara Hepworth, dated 1969 CAST 1970, numbered 1/9 and inscribed with the foundry marks Morris Singer FOUNDERS LONDON Bronze Height with base: 29 3/4 in. 75.6 cm Conceived in 1969 and cast in 1970. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication This work will be included in the forthcoming catalogue raisonné being prepared by Sophie Bowness. Provenance Private Collection, United Kingdom (November 1971) Marlborough Fine Art, Ltd., London (acquired from the above) Private Collection, West Coast (acquired from the above in December 1985 and sold: Christie's, New York, November 4, 2009, lot 289) Acquired at the above sale Hepworth's interest in pagan ritual and totemic forms of her native England influenced much of her sculpture, and the present bronze is an example of how this interest extended even further afield. "Makutu" is the word used by the Mauri people of New Zealand to describe sorcery or the act of bewitching. Hepworth has ascribed that name to this bronze ovoid form, casting it as an object with mystical power. For Makutu, Hepworth drew her inspiration from a variety of aesthetic sources, including the monumental work of her contemporary Henry Moore, as well as the organic and elegant stone carvings of Brancusi and Arp. In the last decade of her life, however, her sculpture more consciously took on subjects that related to human history, culminating in her monumental series The Family of Man. Abstract and decidedly modern, Makutu possesses a distinct beauty and sense of timelessness in its solidity and curvilinear formation. In her aspiration towards universality, Hepworth embraced an abstract mode of expression. Throughout her career she focused much of her attention on the exploration of three basic sculptural structures – two forms, the closed form and the standing form (as represented by the present work). These elemental configurations allowed Hepworth to introduce both figurative and landscape elements, often drawn from her beloved Cornish coastline, into her abstract art. Towards the end of her career, Hepworth wrote about the meaning that she assigned to many of her sculptures: "Working in the abstract way seems to realise one's personality and sharpen the perceptions so that in the observation of humanity or landscape it is the wholeness of inner intention which moves one so profoundly. The components fall into place and one is no longer aware of the detail except as the necessary significance of wholeness and unity [...] a rhythm of form which has its roots in earth but reaches outwards towards the unknown experiences of the figure. The thought underlying this form is, for me, the delicate balance the spirit of man maintains between his knowledge and the laws of the universe" (B. Hepworth, Barbara Hepworth. A Pictorial Autobiography, Bath, 1970, p. 93). The present bronze is number one from an edition of nine casts.
Lee Ufan - From Line, No. 760219

Lee Ufan - From Line, No. 760219

Original 1976
Estimate:

Price:

Lot number: 61
Other WORKS AT AUCTION
Description:
Lee Ufan B. 1936 FROM LINE, NO. 760219 signed and dated 76; signed and titled on the reverse mineral pigment and glue on canvas 63 3/4 x 51 1/4 in. 161.9 x 130.2 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private Collection, Tokyo Acquired by the present owner from the above in 1994 "In a different way from athletes or Zen priests, I train my mind and body and discipline my behavior in order to obtain greater freedom and enter a more brilliant world. The orderly arrangement of the painted surface is only a superficial result. Following a certain rule may seem to be mechanical or automatic, but actually is not." Masterfully staging the renowned elegance and performative authority for which Lee Ufan is known and revered, From Line, No. 760219, executed in 1976, is entirely striking in its powerful simplicity. Tension and sensation, presence and absence, the essential binaries of Lee’’s art, are expressed in their stunning totality in the present work. The focus of Lee's practice is inextricably bound to these dualities, as equal importance is placed on the artist’’s marks and on the areas of quiet pause that emerge between them. The effect is a melodic cadence of undulating rise and fall that imbues Lee’’s paintings with a mesmerizing sensation of dynamic stillness. In simultaneous dialogue with the sensibilities of John Cage, and his insistence on the decentralization of the art experience, and the graphic restraint of calligraphy, From Line, No. 760219 visually and philosophically bridges the creative landscapes of East and West in the second half of the 20 th century. From Line, No. 760219 is a classic example of Lee's fundamental From Line works and the related From Point works first exhibited in 1973, canvases which developed the seminal imagery that consumed the artist for the next ten years. Aligned in perfect symmetry along the upper limits of the canvas, Lee’’s luminous cobalt strokes disperse into a symphony of floating diaphanous swathes as they journey down the surface of the painting, growing progressively more irregular until they seem to evaporate into absolute pictorial serenity at the bottom edge. In Lee's paintings, the legacy of calligraphic mark-making in Eastern art is stripped to its simplest incarnation, while retaining the maker's internalized qualities of its employment. In his 1975 essay titled "Using a Brush," Lee reflected on the communicative ability of brushwork beyond mark-making alone: "The scholars of East Asia have thought with the brush for centuries, using it both for writing and painting. The object before the eyes and the image in the mind are all constructed of points and lines, and expressed in rhythm with the rising and falling of the breath. Because of this, the viewer... can observe the dynamic relationship between the painting and the canvas, the condition of the painter's body, the movement of his heart, his character and the atmosphere of the age." (Jean Fischer, ed., Lee Ufan: the Art of Encounter, Cologne, 2008, p. 25) The result of Lee's philosophical and artistic thinking is an inquiry into the fundamental tenants of experience. Even Lee's description of his artistic process is rich with sensory understanding and ritual practice: "Cobalt blue powdered mineral pigment (or orange powdered mineral pigment) is dissolved in glue, or sometimes in oil, and left for a while until the color stabilizes. Before working, I calm my breathing, correct my posture, and hold my brush quietly." (the artist cited in Exh. Cat., New York, Pace Wildenstein, Lee Ufan, 2008, p. 7) Loading his brush with paint, Lee's measured downward strokes exploit the properties of the medium and reference the act of the painting's creation. By visually traveling the path of Lee's mark-making, the viewer also retraces the artist's process. Thereby, the act of looking also accentuates the temporal element of Lee's work that renders visible the moment of the brush-stroke's creation and the gradual evolution of its transformation through its expiration. Cy Twombly's mark-making comes to mind, as both artists seek to wed the act of making with the act of seeing in their most elemental and basic form. For Lee, the elegant fade of the paint into nothingness leads the artist to recommence his process, and Lee elaborates on the intricacy of this seemingly simple process. As he explains: "In a different way from athletes or Zen priests, I train my mind and body and discipline my behavior in order to obtain greater freedom and enter a more brilliant world. The orderly arrangement of the painted surface is only a superficial result. Following a certain rule may seem to be mechanical or automatic, but actually is not." (Ibid, p. 8).
 Anonymous - Mannequin Articulé

Anonymous - Mannequin Articulé

Original 1800
Estimate:

Price:

Lot number: 1
Other WORKS AT AUCTION
Description:
Mannequin Articulé circa 1800 wood, probably walnut, metal hardware, fully articulating with peg and ball joints and moveable fingers, removable breasts and painted head and face, together with a beechwood chair height: 67 in. 170.2 cm Wooden mannequins, also known as lay figures, have been an ever-present element in artist’’s studios since at least the Renaissance, found in the ateliers of Michelangelo, Titian, Edgar Degas, Giovanni Boldini and Gustave Courbet among countless others. These obliging and indefatigable models were used to study the figure, with its skeleton and musculature abstracted into geometric forms, and, perhaps more commonly, to recreate the drape of clothing or fabric and the resulting fall of light and shadow over the human form; in fact, the verb “manniquer” first appears in eighteenth century France and is used to describe the act of artfully draping cloth over a mannequin to a natural effect (Jane Munro, Silent Partners: Artist and Mannequin from Function to Fetish, Fitzwilliam Museum, Cambridge, October 14 2014 – January 25, 2015, exh. cat. p. 28). By the end of the eighteenth-century, demand from artists for accurately proportioned and fully articulating figures was so great that mannequin–makers went to ingenious and extraordinary lengths in order to engineer objects that are works of art in themselves. These mannequins range in size from six inches to more than life-size, and served a variety of purposes. Early surviving sixteenth and seventeenth century wooden articulated figures, almost all of which are German and Austrian and referred to as Gliederpuppe, were intricately carved to a high degree of finish and likely intended for display in a Kunstkammer (cabinet of curiosities) to reflect the “perfect human form”. As a tool in the artist’’s arsenal, however, mannequins were hidden from view and rarely, if ever, included in representations of the artist’’s studio – their presence hinting at the laborious act of painting and diminishing the perception of the artist as inspired genius (Munro, p. 2). By the nineteenth-century, when the present mannequin was likely produced, Paris was home to the leading ateliers producing the most elaborate and lifelike mannequins articulés. Built around a clever skeleton of wood peg and ball joints and metal fasteners which can be posed in multitude ways (fig. 1), the body of these mannequins was most often soft and shaped out of horsehair, wax, silk, cotton and painted papier-maché. In the present model, hardwood has been beautifully hand-planed and defines the musculature of the body, evident in the calves, forearms, the naturalistic rib cage with its clavicles and neck muscles clearly rendered, overlapping the pelvis to hide mechanical elements beneath and creating a rare naturalistic effect. Also unique are the classically proportioned and serene painted face, implying that the mannequin is of French origin, and the removable breasts which allow it to play the role of either gender. This tactile simulation of the human body has a startling and sensory effect, even on present-day viewers. Certainly, the distinctly gendered Gliederpuppe, with their carefully rendered anatomy, imply an erotic appeal for collectors, while twentieth century and contemporary artists have treated mannequins as subjects rather than stand-ins (Munro, p. 35-6). Indeed, Surrealist artists like Salvador Dali, Giorgio Di Chirico, Hans Bellmar and Man Ray all exploited this subject to create potent narratives and amplify the psychological friction in their work, a tradition continued by the prosthetics of Cindy Sherman and Jake and Dinos Chapman. The present mannequin articulé is a rare and exceptional example of an essential component of the nineteenth century artist’’s studio, and yet it transcends its functionality and compels reflection on how images are constructed and the body is represented. We would like to extend special thanks to Marion Harris, New York, for her kind assistance in cataloguing this lot. Fig. 1 Denis Diderot and Jean le Rond d’’’’Alembert, Mannequin and Developmens du Mannequin (1763, Cambridge University Library) Fig. 2 Denis Diderot and Jean le Rond d’’’’Alembert, Mannequin and Developmens du Mannequin (1763, Cambridge University Library) This mannequin exhibits scattered scratches, dents and patina consistent with age and use, as well as minor, scattered old worm damage. There are small chips to the extreme edges, the largest loss being to the proper left shoulder, and a smaller loss in the back of the neck, and break in the proper left leg, inherent to the grain of the wood. The proper left foot was possibly added later, and the ball joint of the right hip is probably newer. This work is sold together with a pine chair, probably French circa 18th Century, with shows wear consistent with age. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Henry Moret - Lande Bretagne

Henry Moret - Lande Bretagne

Original
Estimate:

Price:

Lot number: 102
Other WORKS AT AUCTION
Description:
Henry Moret 1856 - 1913 LANDE BRETAGNE Oil on canvas 19 3/4 by 28 3/4 in. 50.2 by 73 cm Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication This work will be included in the catalogue raisonné being prepared by Jean-Yves Rolland. Provenance Private Collection, France The canvas is unlined. The pigments are bright and fresh and the impasto has been well preserved. Extremely faint stretcher marks run vertically through the center of the composition. A few fine lines of craquelure are faintly visible scattered in the sky and one running vertically through the mountain at center. There is one extremely minor flake of pigment lost to the top center edge but the surface is otherwise stable. Under UV light: no inpainting is apparent though certain original pigments fluoresce and a masking layer of varnish is difficult to read through. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Pablo Picasso - Corrida En Arles

Pablo Picasso - Corrida En Arles

Original
Estimate:

Price:

Lot number: 1
Other WORKS AT AUCTION
Description:
Pablo Picasso 1881 - 1973 CORRIDA EN ARLES (BLOCH 1355; SEE BAER 887) Three aquatints, one printed in colors, 1951 and 1955, the first one of two impressions, the second a unique proof, the third a unique proof of plate I printed in blue, with additional colors, each framed (3 prints) 420 by 544 mm; 16 1/2 by 21 3/8 in Ex coll. Marina Picasso (Lugt 3698) The first is Baer's second and final state of the first plate. The second is Baer's second and final state of the second plate printed in black. Picasso used three plates to produce the third print in 1955. He combined Baer's second and final state of the first plate, the first state of the second plate and a third plate, which he used to print the red. Picasso had the first state of the second plate printed in colors. The prints are in good condition, the full sheets. Plate I: There is pale mat-stain and surface soiling in the margins. Unobtrusive pale-brown stains in the periphery of the left margin at bottom. The verso, with a pale brown stain in the right side of the sheet at center and occasional fox marks on the right sheet edge. Plate II: The full sheet. There is pale mat-stain and an occasional fox mark in the bottom margin and the bottom left corner. The verso, with a pale-brown stain in the right side of the sheet at center. Plate III: The full sheet, with fresh colors. There is pale mat-stain, surface soiling and stray ink in the margins. The verso, surface soiled with an occasional fox mark. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
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current week's auction

Place Date Artworks Works at Auction
New York
November 3, 2014
119
New York
November 4, 2014
74
New York
November 5, 2014
321
New York
November 6, 2014
110
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