Henri Gaudier-Brzeska (1891-1915)
Henri Gaudier-Brzeska (1891-1915)

Dog (Dachshund)

Henri Gaudier-Brzeska (1891-1915)
Dog (Dachshund)
numbered '1/3' (on the base of the hind leg)
bronze with a brown patina
13 7/8 in. (35.2 cm.) long
Carved in marble in 1914; cast in aluminium in an edition of 1; and cast in bronze in an edition of 12 by Fiorini on behalf of H.S. (Jim) Ede. A further 3 bronze numbered casts were taken by Bernard Meadows at the Royal College of Art, circa 1965-70, from a plaster owned by J. Wood Palmer.
H.S. Ede, A Life of Gaudier-Brzeska, London, 1930, p. 205, pl. XXVII, another cast illustrated.
H.S. Ede, Savage Messiah, London, 1931, opposite p. 84, marble sketch or unfinished marble illustrated.
R. Cole, Burning to Speak: The Life and Art of Gaudier-Brzeska, Oxford, 1978, p. 109, no. 56, another cast illustrated.
E. Silber, Gaudier-Brzeska Life and Art, London, 1996, p. 273, no. 96, pls. 140, 141, another cast illustrated.
London, J. and E. Bumpus, Henri Gaudier-Brzeska, April - May 1931, no. 40, another cast exhibited.
Leeds, Temple Newsam, Roy de Maistre Henri Gaudier-Brzeska, June - August 1943, no. 73, another cast exhibited.
Cardiff, The Cardiff Gallery, Gaudier-Brzeska Sculpture, Painting and Drawing, July - August 1953, no. 14, another cast exhibited.
London, Arts Council of Great Britain, Arts Council Gallery, Henri Gaudier-Brzeska, December 1955 - January 1956, no. 23, another cast exhibited.
London, Marlborough Gallery, Gaudier-Brzeska, 1965, no. 94, another cast exhibited.

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Lot Essay

Roger Cole refers to Sophie Brzeska calling this work a 'Dachshound'. Unlike the Fawns of late 1913 and early 1914, which remained realistic in their representation, this sculpture retains the proportions of the dog and abstracts from them. Consequently, the work is a pleasing combination of intuitive response, to animal form and geometric simplification, sympathetically expressed in semi-abstract terms (R. Cole, loc. cit.).

The marble piece was broken when owned by Ede and was later repaired, entering the collection of Sir Dyer Simpson, chairman of the insurance company. Silber writes 'it was presumably as a result of this that the cast(s) in plaster were taken to facilitate the making of the aluminium and later bronze casts' (E. Silber, loc. cit.).

Several of the bronze casts are in public collections, including two at Kettle's Yard, Cambridge; one in Tate, London; one in the Art Gallery of New South Wales, Sydney; and one in Musée National d'Art Moderne, Paris.

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