- 14
GERMAINE RICHIER | l'Ogre
Estimate
250,000 - 350,000 EUR
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Description
- Germaine Richier
- l'Ogre
- signed, numbered 8/8 and stamped with the foundry mark Thinot Fondeurs
- bronze
- 82 x 45 x 41 cm; 32 5/16 x 17 11/16 x 16 1/8 in.
- Conceived in 1949, this work comes from an edition of 12 (1/8 to 8/8 and HC1, HC2, HC3, EA) and was cast after 1959.
Provenance
Private Collection, USA
Thence by descent to the present owners
Thence by descent to the present owners
Exhibited
São Paulo, Museum of Modern Art, IInd Biennale, 1952; no. 3 (other example)
Venice, XXVIth international Biennale of art; no. 151 (other example)
Basel, Kunsthalle, Germaine Richier, Bissière, H. R. Schiesse, Vieira da Silva, Raoul Ubac, 1954; no. 9
Bienne, collège des Près Ritter, Exposition suisse de sculpture en plein air, 19 September – 17 October 1954; no. 170 (other example)
Paris, Musée national d'Art moderne, Germaine Richier, 10 October – 9 December 1956; no. 16, pl. XIV (other example)
Minneapolis, Walker Art Center, Sculpture by Germaine Richier, 28 September – 9 November 1958; no. 10 (other example)
Boston, University School of Fine and Applied Arts, Sculpture by Germaine Richier, 10 January – 7 February 1959; no. 30 (other example)
Antibes, Picasso Museum, Germaine Richier, 17 July – 30 September 1959; no. 67 (other example)
New York, MoMA, New images of Man, 1959; no. 90 (other example)
Zurich, Zurich Kunsthaus, Germaine Richier, 12 June – 21 July 1963; no. 46 (other example)
Arles, Réattu Museum, Germaine Richier, 7 July – 30 September 1964; no. 22 (other example)
Humlebaeck, Musée d'Art Moderne Louisiana, Germaine Richier, 13 August – 25 September 1988; no. 12 (other example)
Paris, Centre Wallonie-Bruxelles, Dominique Rolin, le temps approuvé, 12 March – 30 April 1993 (other example)
London, Tate Gallery, Paris Post War: Art and Existentialism, 1945-1955, 9 June – 5 September 1993; no. 98, phot. (other example)
Venice, XXVIth international Biennale of art; no. 151 (other example)
Basel, Kunsthalle, Germaine Richier, Bissière, H. R. Schiesse, Vieira da Silva, Raoul Ubac, 1954; no. 9
Bienne, collège des Près Ritter, Exposition suisse de sculpture en plein air, 19 September – 17 October 1954; no. 170 (other example)
Paris, Musée national d'Art moderne, Germaine Richier, 10 October – 9 December 1956; no. 16, pl. XIV (other example)
Minneapolis, Walker Art Center, Sculpture by Germaine Richier, 28 September – 9 November 1958; no. 10 (other example)
Boston, University School of Fine and Applied Arts, Sculpture by Germaine Richier, 10 January – 7 February 1959; no. 30 (other example)
Antibes, Picasso Museum, Germaine Richier, 17 July – 30 September 1959; no. 67 (other example)
New York, MoMA, New images of Man, 1959; no. 90 (other example)
Zurich, Zurich Kunsthaus, Germaine Richier, 12 June – 21 July 1963; no. 46 (other example)
Arles, Réattu Museum, Germaine Richier, 7 July – 30 September 1964; no. 22 (other example)
Humlebaeck, Musée d'Art Moderne Louisiana, Germaine Richier, 13 August – 25 September 1988; no. 12 (other example)
Paris, Centre Wallonie-Bruxelles, Dominique Rolin, le temps approuvé, 12 March – 30 April 1993 (other example)
London, Tate Gallery, Paris Post War: Art and Existentialism, 1945-1955, 9 June – 5 September 1993; no. 98, phot. (other example)
Literature
Germaine Richier, Cologne, 1997, p. 98, no. 39, illustrated
Condition
The colours are fairly accurate in the printed catalogue illustration. The creases are slightly dusty. A scratch is located on the base, close to the rim. The rear half of the base presents some tiny stains. There are light oxidation marks along the rim of the base. Traces of clay (terre de cuisson) are located in the ears of the sculpture. The work is in very good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
My nature does not allow me calmness: one is as one is, and age does not make me milder or more serene, not that I am fighting, but it is in me, with me. More and more I am certain that only humanness matters. Germaine Richier, Lettres au sculpteur Bänninger, Paris, 1950-1956