Pierre Sabatier

From the family of the artist

Overall very good condition consistent with age. Scattered scuff marks throughout the surface. Minor oxidation to the material throughout. Wear to the material to the bottom edges. Two horizontal scratches, one to each panel situated on the same height approximately 11 cm and 7 cm long. A gentle warp to the surface throughout concentrated to the edges, and is likely due to the production process.
"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."

Sculptor Pierre Sabatier`s iron pieces emerged from large plates of beaten and treated metals in the 1950s. Empowered by architects, such as Le Corbusier, in addition to the 1% state-funded monument and installation work for Architecture in France that had recently been launched, he produced an array of work ranging from screen doors, walls and partitions to installations and sculptures very often commissioned for halls, schools and banks with a timeless artistic hand. Veronique Sabatier, the sculptor’s daughter recalls: “My father’s enthusiasm would carry us away on his journey. A time journey into the infinity of space, time and matter”.

Forging a very otherworldly skin-like or patterned shell, Pierre Sabatier produced the two panels in silver and tin on pressed brass. By way of polishing, beating and coating, the two metal canvases bear the marks of a process generating repeated industrial dents that produce a powerful collision between the man-made and the scale-less landscapes of Sabatier’s favoured material. The imposing pair were produced for the AXA Tower in Paris, France and underline the contrast between the primal mineral nature of the metals in use and the way in which the artist wished to reveal their constant and multiple shifting states.