The Property of
A PRIVATE COLLECTOR
EVA HESSE (1936-1970)
Details
EVA HESSE (1936-1970)
An Ear in a Pond
signed, titled and dated EVA HESSE 1965 An ear in a Pond on the reverse--tempera, enamel, paper mâché, cotton cord and varnish on masonite
41 5/8 x 17 3/4in. (105.7 x 45.1cm.)
An Ear in a Pond
signed, titled and dated EVA HESSE 1965 An ear in a Pond on the reverse--tempera, enamel, paper mâché, cotton cord and varnish on masonite
41 5/8 x 17 3/4in. (105.7 x 45.1cm.)
Provenance
Droll-Kolbert Gallery, New York
Metro Pictures, New York
Metro Pictures, New York
Literature
L. Lippard, Eva Hesse, New York 1976, p. 37 and p. 40, no. 49 (illustrated)
E. Johnson, Eva Hesse: A retrospective of the drawings, Oberlin 1982, p. 18, no. 11 (illustrated)
B. Barette, Eva Hesse Sculpture, New York 1989, p. 24, no. 3 (illustrated)
Eva Hesse writes of An Ear in a Pond, "Am working on masonite which is pressed wood fibers. On this I build forms (glue and paper) on some forms I have glued cord. On one I have a heavy twisted cord which comes out of a form and hangs loose." This piece is an important work because not only is it one of the first three-dimensional works which she made, but it also serves as a prototype for the sculptures which use cord and string.
E. Johnson, Eva Hesse: A retrospective of the drawings, Oberlin 1982, p. 18, no. 11 (illustrated)
B. Barette, Eva Hesse Sculpture, New York 1989, p. 24, no. 3 (illustrated)
Eva Hesse writes of An Ear in a Pond, "Am working on masonite which is pressed wood fibers. On this I build forms (glue and paper) on some forms I have glued cord. On one I have a heavy twisted cord which comes out of a form and hangs loose." This piece is an important work because not only is it one of the first three-dimensional works which she made, but it also serves as a prototype for the sculptures which use cord and string.
Exhibited
Düssseldorf, Kunstrevein für die Rheinlande und Westfahlen, Eva Hesse; Materialbilderund Zeichnungen Aug.-Oct. 1965 (cover of brochure)