- Jacques Lipchitz
- Chevalier à l'éventail
- Inscribed with the signature Lipchitz and the date 14, stamped with the foundry mark Valsuani Cire Perdue.
Marlborough Gallery, New York (acquired from the above)
Acquired from the above in 2008
Lipchitz, The Cubist Period, 1913-1930 (exhibition catalogue), Marlborough-Gerson Gallery Inc., New York, 1968, another cast illustrated n.p.
Abraham Marie Hammacher, Jacques Lipchitz, His Sculpture, New York, 1975, no. 14, illustrated n.p.
Jacques Lipchitz, Skulpturen und Zeichnungen, 1911-1969 (exhibition catalogue), Stiftung Wilhelm Lehmbruck Museum, Duisburg, 1971, another cast illustrated p. 64
Jacques Lipchitz, Sculptures and Drawing from the Cubist Epoch (exhibition catalogue), Marlborough Gallery, New York, 1977, another cast illustrated p. 5
Nicole Barbier, Lipchitz, Oeuvres de Jacques Lipchitz (1891-1973), Paris, 1978, another cast illustrated p. 14
Alan G. Wilkinson, The Sculpture of Jacques Lipchitz, A Catalogue Riasonné, Volume One, The Paris Years, 1910-1940, New York, 1996, no. 12, illustrated p. 38
According to Alan G. Wilkinson, Chevalier à l'eventail was cast in a bronze edition of 7. The present bronze is one of the rare works that the artist cast in Paris, before immigrating to the United States during the Second World War. Wilkinson provides a synopsis of the stylistic genesis of this sculpture and its impact on Lipchitz's future work: "In Horsewoman with Fan, the various elements of the body are rendered in a simplified, schematic manner. For example, the head and the neck appear to have been made as a separate unit to be fitted onto the shoulders. Similarly the legs, like those of a mannequin, seem to lock onto the torso. The anecdotal attention to the woman's costume anticipates The Matador of 1914" (A. G. Wilkinson, Jacques Lipchitz, A Life in Sculpture, op. cit., p. 67).