Elie Nadelman

By direct descent in the family of the artist to the present owner

the figures themselves are in good condition; they are held in place with metal wires--most of the figures are quite loose
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

After suffering severe financial losses stemming from the Great Depression, Nadelman changed his focus between 1938 and his death in 1946.  As Barbara Haskell writes, he turned "from idealism and emotional restraint to flux, anxiety, and uncertainty".  He began making numerous casts of single plaster figures small enough to easily be held in the hand.  He drew his inspiration for these miniature figures from the Tanagra and Myrina votive figurines of Ancient Greece.  Haskell continues, "Mostly...he left the surfaces rough and scarred, which gave the figures an unfinished look, as if they had been caught in a state of metamorphosis".  He would group figures together, often laying them out flat on tables in his studio as though they were artifacts from an archaeological excavation.  (Barbara  Haskell, Elie Nadelman:  Sculptor of Modern Life, New York, 2003, p. 187)

The present lot hung in the guest bedroom of the artist's home in Riverdale for many years.  Two other similar groups of figures were displayed in the house as well, in the red drawing room and the back studio.