Alexander Archipenko

Perls Galleries, New York
Private Collection, New York (acquired by June 18, 1985 and sold: Sotheby's, New York, May 4, 2006, lot 424) 
Acquired at the above sale 

Hans Hildebrandt, Alexander Archipenko, Berlin, 1923, no. 17, illustration of the terracotta version 
Alexander Archipenko, Archipenko, Fifty Creative Years, 1908-1958, New York, 1960, no. 154, illustrations of another cast  
Donald Karshan, "Les Révolutions d'Alexandre Archipenko," in Plaisir de France 40, July 1974, no. S. 109, illustration of another cast 
Donald Karshan, Archipenko, The Sculpture and Graphic Art, Including a Print Catalogue Raisonné, Tübingen, 1974, illustration of another cast p. 33 
Katherine Jánszky Michaelsen, "The Chronology of Archipenko's Paris Years," in Arts Magazine, November 1976, no. S80, illustration of the terracotta 
Katherine Jánszky Michaelsen, Archipenko, A Study of the Early Works, 1908-1921, New York, 1977, pl. 80, illustration of another cast 
Annette Barth, Alexander Archipenkos plastisches Oeuvre, vol. II, Frankfurt am Main, 1997, no. 76, illustration of the terracotta version p. 171 

Greenish brown patina. The sculpture is affixed to a black, square base at one point on the underside. There are a few spots of patina rubbing, particularly on the back of the sculpture at the top of the hair, on the lower portion of the figure's right shoulder, and on the upper portion of the figure's left thigh. Some surface dirt in the deeper crevices, otherwise fine. This work is in very good 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Archipenko considered Standing Figure, Statuette (Femme debout) to be a work most emblematic of his artistic contribution. When discussing its form he stated, “The use of concave forms in sculpture is not as simple as it may seem, in spite of the fact that inversions of form in art have been known for centuries. In the year 1912, parallel to the modulation of space, I conceived the way to enrich form by introducing significant modulation of the concave. The modulation of the concave, its outlines and whole patterns become an integral part, symbolically as important as the pattern of the elevations. This method I applied to reliefs and to three-dimensional figures. As the result of many experiments, I obtained an entirely new and original type of sculpture with new esthetic, optical and spiritual expressions. The combining of positive and negative forms evolved into a new modern style” (Alexander Archipenko, Archipenko, Fifty Creative Years, 1908-1958, New York, 1960, p. 52).