- 416
JACQUES LIPCHITZ | Study for Return of the Child
Estimate
8,000 - 12,000 GBP
bidding is closed
Description
- Jacques Lipchitz
- Study for Return of the Child
- inscribed JLipchitz, numbered 1/7, with the foundry mark modern art fdry.ny. and marked with the artist's thumbprint
- bronze
- height: 30cm., 11 7/8 in.
- Conceived in 1941 and cast in bronze by The Modern Art Foundry, New York in a numbered edition of 7.
Provenance
Marlborough Gallery, New York
Private Collection, New York (acquired from the above in 1979; sale: Sotheby's, New York, 25th February 1992, lot 71A)
Private Collection, New York (sale: Sotheby's, New York, 19th February 1997, lot 95)
Private Collection (sale: Christie's, New York, 2nd May 2012, lot 471)
Purchased at the above sale by the present owner
Private Collection, New York (acquired from the above in 1979; sale: Sotheby's, New York, 25th February 1992, lot 71A)
Private Collection, New York (sale: Sotheby's, New York, 19th February 1997, lot 95)
Private Collection (sale: Christie's, New York, 2nd May 2012, lot 471)
Purchased at the above sale by the present owner
Exhibited
New York, Marlborough Gallery, Jacques Lipchitz, Small Sculptures, Maquettes and Drawings, 1979, n.n.
Literature
Harvard H. Aranson, Jacques Lipchitz, Sketches in Bronze, New York, 1969, no. 152, illustration of another cast p. 159
Alan G. Wilkinson, The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, The American Years 1941-73, New York, 2000, vol. II, no. 364, illustration of another cast p. 26
Alan G. Wilkinson, The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, The American Years 1941-73, New York, 2000, vol. II, no. 364, illustration of another cast p. 26
Condition
Warm brown patina. There are some minor nicks in places and some dust in the crevices consistent with age and handling. This work is in overall 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."
"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."
Catalogue Note
The present work was executed in 1941, the year in which Lipchitz and his wife fled France for the United States. In the catalogue for the recent Lipchitz exhibition organised by the Art Gallery of Ontario, Alan Wilkinson writes: "Study for Return of the Child is one of two maquettes from which the large bronze and cast granite (Solomon R. Guggenheim Museum, New York) evolved. The theme is related to the 1914-15 bronze of the same name in which one of the children is held above the mother's shoulders. In relation to Return of the Child, Lipchitz has written, 'the child is a symbol of my sculpture that was returning to me.' It also expresses 'the specific feeling of escape from the horror of the Fascists to the refuge of the United States' (quoted in Jacques Lipchitz, A Life in Sculpture (exhibition catalogue), Art Gallery of Ontario, Toronto, 1989, pp. 127-28)
The authenticity of this work has been confirmed by Pierre Levai.
The authenticity of this work has been confirmed by Pierre Levai.