Lot 168
168
Sir Eduardo Paolozzi, R.A. (b. 1924)
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Sir Eduardo Paolozzi, R.A. (b. 1924)

AG5

Details
Sir Eduardo Paolozzi, R.A. (b. 1924)
AG5
stamped 'Eduardo Paolozzi/London' (on the reverse), and dated '58' (on the reverse)
bronze with a green patina, unique
39½ in. (100.3 cm.) high
Conceived in 1958
Literature
W. Konnertz, Eduardo Paolozzi, Cologne, 1984, pp. 87, 91, pl. 174.
Exhibited
Venice, British Council, British Pavilion, XXX Biennale, 1960, no. 58.
Paris, Musee des Arts Decoratifs, Victor Pasmore, Eduardo Paolozzi 1961, no. 55.
Bochum, Stadtische Kunstgalerie, Eduardo Paolozzi, 1961, no. 24.
San Paulo, Bienal VII, 1963, no. 6.
London, Tate Gallery, Eduardo Paolozzi, 1971, no. 38, p. 68 (illustrated).
Hannover, Kestner Gesellschaft, Eduardo Paolozzi, 1974-75, no. 14, p. 79 (illustrated).
Berlin, Nationalgalerie, Eduardo Paolozzi, 1975, no. 24, p. 87 (illustrated).
Edinburgh, Royal Scottish Gallery, Eduardo Paolozzi, Recurring Themes, 1984, no. A1.7, p. 23 (illustrated): this exhibition toured to Munich, Stadtische Galerie im Lenbachhaus; Cologne, Museum Ludwig; and Breda, De Beyard Centrum Voor Beeldende Kunst.
London, Serpentine Gallery, Eduardo Paolozzi Sculptures from a Garden, August-October 1987, no. 10, pp. 26, 27 (illustrated).
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

In 1955 Paolozzi took up a post teaching sculpture at St Martin's School of Art. During the next three years he developed a new style of sculpture that consisted of encrusted reliefs collaged together, using various objets trouvés such as 'dismembered lock, toy frog, rubber dragon, toy camera, clock parts, broken comb, parts of a radio, an old RAF bomb sight' (Uppercase, no. 1, 1958, unpaginated). His intention though is to unite the elements into a whole, 'to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying' (see E. Roditi, Dialogues on Art, London, 1960, p. 155).

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