Joseph Csaky

sculpture en marbre veiné beige ; socle postérieur en bronze patiné

Marcel Coard, Paris
Michel Périnet, Paris
Collection privée, Paris

Félix Marcilhac, Joseph Csaky, du cubisme historique à la figuration réaliste, éd. de l'Amateur, Paris, 2007, p. 335, n.c.1924-FM.87/a du catalogue raisonné

Very good overall condition. Two chips, one on each ear. A few minor scratches to the surface. One tiny chip to the nose. A few chips around the base. A larger one at the center visible on the catalog illustration. One orange spot below the right ear within the marble consistent with material. The patinated bronze base with a few scratches of use on the black Plexiglas revolving top.
"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."

A partir de 1923-1924 l'animal devient un sujet d'étude pour Csaky, traitant dans un style cubiste chats, lionnes, chiens, poissons, coqs ou chevreuils, sculptés en granit ou marbre et parfois fondus en bronze. Ce thème apparaît dès le début de sa collaboration avec Marcel Coard après ses années sous contrat avec la galerie l'Effort Moderne de Léonce Rosenberg. Le décorateur, qui collectionne les oeuvres de Csaky depuis le début des années vingt, propose ces sculptures dans ses installations, en détourne certaines sous forme d'objets décoratifs tels des chenets, ou encore lui passe commande d'éléments de décor qu'il intègre à ses meubles.
Seules une sculpture en plâtre et une version en marbre de l'Anubis, d'époque sont connus.

From 1923-1924, the animal became a field of study for the Cubist sculptor Josef Csaky, resulting in cats, lionesses, dogs, fishes or deer in either granite or marble, and sometimes in bronze.  This new theme was largely inspired by Csaky’s relationship with Marcel Coard, whom he met after he had been working with Léonce Rosenberg’s gallery “L’Effort Moderne”. Coard had taken a deep interest in Csaky’s work since the beginning of the 1920s, both as a collector and as a decorator, incorporating Csaky’s sculptures into his interior schemes.

Only one plaster and one period marble version of the Anubis are known.