Sorel Etrog b. 1933

Private Collection, Toronto

Toronto, Sorel Etrog: One Decade, organized by Alan Toff, Art Gallery of Ontario, 1968, no. 2

New York, Sorel Etrog, Sculpture, Rose Fried Gallery, New York, 1963, no. 2, illustrated p. 3, for a larger cast of this sculpture

Pierre Restany, Sorel Etrog, Munich, 2001, illustrated, p. 62

This sculpture is in excellent condition. One of the downward wings has a slight patina loss.
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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This 1959 bronze represents a major turning point in Etrog's career, for up to that point he had been making painted, mostly two-dimensional constructions. While studying in New York, he was deeply moved by three-dimensional sculpture from Africa and South America - the Pre-Columbian figures in particular.

With this dazzlingly complex sculpture, Etrog launched a new direction for himself and his work. In relatively short order he had done a large-scale version from the maquette and casts quickly found their way to the Hirshhorn Museum and sculpture garden in Washington, D. C. and to the Shaw Festival in Niagara-on-the-Lake, among other important public and private collections.