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

Seated Woman

Details
Henri Gaudier-Brzeska (1891-1915)
Seated Woman
bronze with a black patina
19 in. (48.2 cm.) high
Carved in marble in 1914, and cast in bronze in an edition of 7 by Michael Gillespie on behalf of H.S. (Jim) Ede.
Provenance
Purchased by the present owners from Kettle's Yard, Cambridge.
Literature
E. Pound, Gaudier-Brzeska A Memoir, London and New York, 1916, pp. 68, 160, pl. 19, another cast illustrated.
L. Taft, Modern Tendencies in Sculpture, New York, 1921, p. 28, pl. 55, another cast illustrated.
S. Cheney, A Primer of Modern Art, London, 1924, another cast illustrated.
H.S. Ede, A Life of Gaudier-Brzeska, London, 1930, p. 200, pl. XLIV, another cast illustrated.
R. Cole, Burning to Speak: The Life and Art of Henri Gaudier-Brzeska, Oxford, 1978, pp. 120-21, no. 67, marble and another cast illustrated.
E. Silber, Gaudier-Brzeska Life and Art, London, 1996, p. 275, no. 105, pls. 154-56, XV, marble illustrated.
Exhibited
London, Grafton Galleries, Allied Artists Association, March 1916, no. 1, another cast exhibited.
London, Leicester Galleries, A Memorial Exhibition of the Work of Henri Gaudier-Brzeska, May - June 1918, no. 80, another cast exhibited.
New York, Sculptors' Gallery, Seven English Modernists, March 1922, another cast exhibited.
New York, Gruenebaum Gallery, Henri Gaudier-Brzeska 1891-1915 Sculpture and Drawings, September - October 1977, no. 1, another cast exhibited.
Special notice

VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.
Sale room notice
Please note that the present work is numbered '6/6' (on the base of the reverse).

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André Zlattinger
André Zlattinger

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Lot Essay

This sculpture can be seen to have a close affinity with both Red Stone Dancer and Maternity, although it is less abstract and more refined than these other two sculptures and in the organisation of the arms, and their position in relationship to the head, we have repetition of Gaudier's involvement with the interplay of these masses. This sculpture expresses all the artist's ideas about the simplification of planes as related to masses and as such is one of his most complete and considered statements (R. Cole, op. cit., p. 120).

Gaudier-Brzeska described this sculpture in a List of Works, where this is the last sculpture entry, as 'Femme assise marbre pentélique strié poli à la cire'. In a letter to Ezra Pound sent from the trenches on 20 March 1915, Gaudier-Brzeska describes this work as 'a big marble, a sleeping woman, which you have never seen' (E. Silber, loc. cit.).

The marble sculpture of Seated Woman (1914) is in the collection of the Musée d'Art Moderne, Paris.

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