NIKI DE SAINT-PHALLE | I. TOTEM, UPSIDE DOWN NANA, LE TEMOIN | II. NANA SANTÉ | III. STRENGTH [3 WORKS]
By Women For Tomorrow's Women: A Benefit Auction For Miss Porter's School
NIKI DE SAINT-PHALLE
1930 - 2002
I. TOTEM, UPSIDE DOWN NANA, LE TEMOIN
II. NANA SANTÉ
each signed and titled
ii. paper collage on lithograph
i. 22¼ by 18½ in. (62 by 47 cm.)
ii. 22¼ by 19⅜ in. (61.1 by 49.2 cm.)
iii. 15¼ by 20⅞ in. (38.5 by 52.6 cm.)
i. Executed in 2001, this work is number 3 from an edition of 50.
ii. Executed in 1999, this work is number 8 from an edition of 50.
iii. Executed in 1973, this work is number 81 from an edition of 100.
Available upon request. Please contact the Contemporary Art Department to obtain a copy.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Niki de Saint Phalle was a sculptor, painter, and filmmaker, best known for her monumental sculpture and Nanas. Following a thematic period of violence and aggression in de Saint-Phalle’s work, the first Nanas appeared in 1965 for a solo exhibition at the Galerie Alexandre Iolas in Paris. As de Saint-Phalle grew artistically and intellectually, so did her craft. Where the shocking and dramatic Shooting paintings recalled her disturbing childhood and deep-seated anger toward men, the Nanas evoke a positive message of recovery and strength. Straying from gunshots and gore, her creations grew increasingly joyous, playful and quintessentially feminist. With voluptuous curves and hyperbolic proportions, the Nanascelebrate women; they applaud the female figure in all of its art historical significance, challenging conventional expectations of a woman’s role in society. The present works present an archetype–the ‘Everywoman’–embracing feminist ideology in form and content.