Sir Eduardo Paolozzi, R.A.

Michel Tapié, France
Sale, Christie's London, 10th November 1989, lot 400

Possibly London, Institute of Contemporary Arts, Young Sculptors, January 1952 (concrete version, as Study for Concrete);
British Council, New Aspects of British Sculpture, Venice Biennale, 1952, British Pavilion (plaster version);
Paris, Galerie Stadler, 1957 (details untraced).

Michel Tapié, où il s'agit de nouveaux dévidages du réel, Paris, 1952.

Structurally sound. There is very minor surface dirt and matter to the crevices, with slight ware to the patina of some of the raised elements, but this excepting the work appears in excellent overall 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."

We are grateful to Robin Spencer for his kind assistance with the cataloguing of the present work.

Developing a unique sculptural approach which incorporated his fascination with ‘found’ objects, the method by which sculptures of this period were produced was a crucial element in both their physical appearance and their relationship to the work of other artists of the time.  The objects (often as diverse as bark, model cars, clock parts, gramophone components and a dismantled ex-RAF bomb sight) were initially pressed into clay to form a negative relief, from which wax moulds were taken.  These wax positives were then twisted, torn and fastened together and finally cast by the lost-wax technique as unique bronzes.  This unorthodox method of working was important for the artist as it allowed him to combine his sculptural ideas with the collaged forms he had been working with previously during his time in the textile department of the Central School of Art and Design, transforming them into solid, three-dimensional objects.