Elie Nadelman 1882 - 1946

Helena Rubinstein, New York (possibly acquired from the artist)
Mala Rubinstein, New York (her niece)
Private Collection, Canada, 1999 (acquired from the above)
By descent in the family to the present owner

Lincoln Kirstein, Elie Nadelman, New York, 1973, no. 181, p. 305, illustration of another example pl. 55
John I.H. Baur, The Sculpture and Drawings of Elie Nadelman, New York, 1975, illustration of another example p. 52, fig. 42
Barbara Haskell, Elie Nadelman: Sculptor of Modern Life, New York, 2003, p. 85, illustration of another example p. 75, fig. 82
Suzanne Slesin, Over the Top, Helena Rubinstein: Extraordinary Style, Beauty, Art, Fashion, Design, New York, 2003, pp. 50-51, illustrated

Very good condition. Some minor imperfections in the marble base, some of which may be inherent. Small lost to bottom right corner edge of base and a very tiny chip to edge of base. Bronze was recently cleaned and waxed by Wilson Conservation.
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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Elie Nadelman arrived in Paris in 1904, quickly establishing himself within the art community and achieving his first success in 1905, when three drawings were accepted to the Salon d'Automne. In April 1909 Galerie E. Druet held a solo exhibition, where "[Nadelman's] radical simplification of form and stylized distortion of shape became a pulse point of debate about the future of sculpture, reportedly disturbing even Picasso and stimulating Amadeo Modigliani to turn temporarily to sculpture" (Barbara Haskell, Elie Nadelman: Sculptor of Modern Life, 2003, p. 31). The show was an overnight sensation, and Nadelman quickly captured the attention of Leo and Gertrude Stein and Alfred Stieglitz.  Nadelman's second solo exhibition in April 1911 was at the William B. Paterson Gallery in London, where Helena Rubinstein, the beauty industry magnate, purchased the entire contents of the show. Rubenstein eventually became Nadelman's most important benefactor.