Ossip Zadkine

Collection particulière, Anvers (acquis de l'artiste et vendu : Sotheby's, Londres, 4 décembre 1996, lot 201)
Acquis lors de cette vente par le propriétaire actuel

Anvers, Galerie Artes (Association Anversoise des Beaux-Arts), Zadkine, 1948, no. 5

Sylvain Lecombre, Ossip Zadkine, L'œuvre sculpté, Paris, 1994, no. 381, illustré p. 416

There are three cracks to the wood running vertically on the verso of the sculpture, visible in the catalogue illustration. There are some faint cracks running vertically on the front, and a few others around the wood knots. There is one small marquetry on the left leg. Apart from some superficial scuff marks, the work is in stable 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."

signed 'O. Zadkine', carved cedar. Executed in 1944, this work is unique.

Fig. 1, Verso de l'œuvre

Note for lot 126

En mon for intérieur, écrit-il, était l'ébéniste, l'homme qui aime animer le bois. Je n'ai pas choisi [...], avant de travailler le bois, une préalable technique issue d'une esthétique élue. Une sorte de demi-conscience confiante me guida non en conduisant ma main mais en installant en moi une logique qui, en sourdine, me mettait au service du bois.
(Ossip Zadkine, cité in Zadkine, Bois et Pierres (catalogue d'exposition), Musée Réattu, Arles; Cloître des Cordeliers, Paris, 1992, p. 22)

Note for lot 126

"In my heart of hearts, he wrote, was the cabinet maker, the man who loves to give life to wood.  I did not choose [...] before working the wood, a previously tested technique from a respected aesthetic theory.  A sort of semi-conscious certainty guided me not by steering my hand but by instilling within me a logic which wordlessly placed me at the service of the wood." (Ossip Zadkine, cited in Zadkine, Bois et Pierres (exhibition catalogue), Arles, 1992, p. 22)

 

Introduction (on a double spread with the photo of the artist)

ENSEMBLE EXCEPTIONNEL DE SEPT SCULPTURES D'OSSIP ZADKINE PROVENANT D'UNE COLLECTION PARTICULIÈRE FRANÇAISE

Fig. 1, Ossip Zadkine avec Jeune Fille à L'Oiseau, une sculpture en pierre de Pouillenay, 1930

Cet ensemble exceptionnel de sept sculptures provenant d'une collection particulière française témoigne de la diversité stylistique et de la richesse de l'œuvre de Zadkine. Dans un respect absolu de la matière, en empathie avec elle, l'artiste se plie à la forme originale du bloc pour y révéler l'esprit qu'elle contient.

Dès 1921, le critique d'art Maurice Raynal loue ainsi "le rythme de Zadkine qui se subordonne de lui-même à la matière qu'il emploie, son émotion vibr[ant]  à l'unisson de celle du bloc de marbre ou de l'arbre qu'il a choisi" (in Ossip Zadkine, Rome, 1921, pp. 13-14).

Partout, dans ses torses aux allures d'antiques jusque dans ses personnages plus construits et pittoresques, l'artiste sait maitriser la ligne et l'espace au sein duquel elle se déploie. Courbe ou tendue, docile ou capricieuse, il sait la faire entrer en vibration.

 

Introduction

EXCEPTIONAL GROUP OF SEVEN SCULPTURES BY OSSIP ZADKINE FROM A PRIVATE FRENCH COLLECTION

This exceptional group of seven sculptures from a private French collection is a testament to the stylistic diversity of Zadkine and the immense richness of his oeuvre.  With absolute respect and understanding of the raw material, the artist submits to the original form of the block in order to reveal the spirit contained within.

As early as 1929, the contemporary art critic Maurice Raynal praised "Zadkine's rhythm which surrenders to the material he is using, his vibrant emotion at his unison with the block of marble or the tree that he has chosen" (in Ossip Zadkine, Rome, 1921, pp. 13-14).

Everywhere, from the torsos with a classical appearance to the more constructed, animated characters, the artist is able to master the line and the space within which it is deployed.  Curved or taut, docile or capricious, he nevertheless manages to give the line resonance.