L13021

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Lot 110
  • 110

Isamu Noguchi

Estimate
150,000 - 200,000 GBP
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Description

  • Isamu Noguchi
  • Recurrent Bird
  • signed and dated 58
  • Greek marble
  • 45 by 46 by 16cm.; 17 3/4 by 18 by 6 1/4 in.

Provenance

Cordier & Ekstrom, Inc., New York
Acquired directly from the above by the present owner in 1964

Literature

Nancy Grove and Diane Botnick, The Sculpture of Isamu Noguchi, 1924-1979, New York 1980, no. 446, illustrated

Condition

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is warmer in the original. The catalogue illustration fails to fully convey the true three - dimensionality of the original sculpture. Condition: This work is in very good condition. There are a few minor rub marks scattered in places. Upon close inspection, there is a short unobtrusive chip which has been partially filled towards the top edge on the reverse of the sculpture, as per the catalogue illustration, and two further tiny nicks along one of the extreme side edges. The tonal variation in the marble is inherent to the ageing process of the material.
"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 regard for stone as the basic element of sculpture is related to my involvement with gardens. My own work, I feel, is renewed each time I work in either – periodic activities that thread my life. With earth as with stone, it is the most physical involvement, to which I return with zest… Why do I continuously go back to Japan, except to renew my contact with the earth? There still remains unbroken the familiarity with earthly materials and the skills of Japanese hands.”

the artist quoted in: Kristine Stiles and Peter Selz, Eds., Theories and Documents of Contemporary Art, Berkeley 1996, p.518