César

Charles Matton, Paris (acquis directement auprès de l'artiste circa 1966)
Collection particulière, Paris

Paris, Musée National d'Art Moderne, Centre Georges Pompidou, 1988, Les Années 50; catalogue, p. 242, illustré (autre exemplaire)
Sète, Musée Paul Valéry, César Les Bronzes, 1991 (autre exemplaire)
Marseille, Centre de la Vieille Charité, César, 1993; catalogue, no. 3, p. 11, illustré en couleurs (autre exemplaire)
Vence, Galerie Beaubourg-Vence, Portraits de femmes, 1994; catalogue, couverture, illustré en couleurs (autre exemplaire)
Monaco, Grimaldi Forum, César, L'instinct du fer, 2002; catalogue, pp. 70-71, illustré en couleurs (autre exemplaire)

Pierre Restany, César, Paris, 1988, p. 64, illustré (autre exemplaire)
Jean- Charles Hachet, César ou les métamorphoses d'un grand art, Paris, 1989, no. 41, p. 34, illustré en couleurs (autre exemplaire)
C. Lenfant, La ruée vers l'art, Investir Magazine, Paris, 1990, p. 34, illustré (autre exemplaire)
Denyse Durand-Ruel, César, Catalogue Raisonné, Volume I, 1947-1964, Paris, 1994, no. 212, pp. 191-193, illustré en couleurs (exemplaire en fer)
Connaissance des Arts, Hors série no.109, César, 1997, p. 59, illustré en couleurs (autre exemplaire)
Pierre Nahon, Bernard Lamarche-Vadel, L'histoire de la Galerie Beaubourg: récit illustré, Paris, 2009, p. 231, illustré en couleurs (autre exemplaire)

The colours are fairly accurate in the catalogue illustration. The patina presents different variations in colour, from golden brown to gold. There is a light superficial scratch on the base, by the figure's left foot, and a minor wear mark in the figure's right arm. There is some oxidation under the base. 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. 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."

César élaborant Ginette à l'usine de Villetaneuse en 1958 © Archives Denyse Durand-Ruel

"Nous allons à Tours pour le festival de court métrage. La Pomme est invitée. César est membre du jury. Dès le deuxième jour, il me glisse à l'oreille qu'il y a des chances pour que j'obtienne le Grand Prix. Mélange de fiction et d'animation, le film n'entrait pas vraiment dans l'un ou l'autre des catégories et le prix me passa sous le nez. Ce qui me décevait le plus, c'était de ne pas avoir le trophée, une compression de caméras faite par César. Comme il se sentait un peu responsable de ma déception, il m'a offert une autre sculpture, plus ancienne, la Ginette. J'étais ravi, car elle me plaisait davantage!" 

« We went to Tours for the festival of short films. La Pomme was invited. César was a member of the jury.  On the second day, he whispered in my ear that I had a chance of winning the Grand Prix. As a combination of fiction and animation, the film did not really fit into any of the categories and the prize slipped through my fingers. This disappointed me a little, because I didn’t get the trophy, which was a compression of cameras made by César. As he felt a bit responsible for my disappointment, he gave me another, earlier sculpture, Ginette. I was delighted, because I preferred it!”

Charles Matton in Jean Baudrillard, Charles Matton, Paris, 1991, p. 161