MAX ERNST (1891-1976) & LEONORA CARRINGTON (1917-2011)
MAX ERNST (1891-1976) & LEONORA CARRINGTON (1917-2011)
MAX ERNST (1891-1976) & LEONORA CARRINGTON (1917-2011)
7 更多
MAX ERNST (1891-1976) & LEONORA CARRINGTON (1917-2011)
10 更多
THE PROPERTY OF A SWISS LADY
MAX ERNST (1891-1976) & LEONORA CARRINGTON (1917-2011)

La femme demi-tête

細節
MAX ERNST (1891-1976) & LEONORA CARRINGTON (1917-2011)
La femme demi-tête
signed and numbered 'max ernst 3⁄8' (on the back); stamped with foundry mark 'Susse Frères Paris RESYRGAM' (on the back at the base)
bronze with green and grey patina
height: 68 ¾ in. (174.5 cm.)
Conceived in 1938-1939 at St Martin d'Ardèche; this bronze version cast by Susse Frères, Paris, in a numbered edition of 8 plus 4 artist's proofs
來源
Dorothea Tanning, New York.
Probably acquired from the above circa 1991-1992, and thence by descent to the present owner.
更多詳情
Dr. Jürgen Pech has confirmed the authenticity of this work.

We are grateful to Dr. Salomon Grimberg for his assistance cataloguing this work.

榮譽呈獻

Micol Flocchini
Micol Flocchini Head of Day Sale

拍品專文

Sparked by Ernst and Carrington’s first meeting in 1937 and informed by their fascination for form and architecture, this collaborative project displays a combination of the pair’s creative voices. Carrington created the female figure, inspired by the sculpture of John Donne in St. James’ Cathedral, London whereas Ernst conceived the surrealist base on which the elegant Femme à la demi-tête stands. Its pedestal which reveals a face with a central eye, mouth and nose. The head of this eponymous woman is devoid of any discernible facial traits, except for a vertical line in relief which continues down the centre of her body, drawing the viewer’s attention towards a mollusc resting at the base of her feet. More recognisable facial features are rather encountered on the face she stands upon.

This sculpture culminates in a mesmerising curvilinear experimentation, evoked in the contrast between the angularity and linearity of the woman’s head and the semi-circular iterations throughout the rest of the work. The closed shell is reminiscent of her rounded arms and the curved base. The female figure stands tall in all her glory at a height of almost two metres, the light catching on the smoothness of her polished bronze body and the textured surface of the mound on which she balances. Ernst and Carrington imbue this work with a majestic quality, recalling the classical dancer who carries her arms in an elegant bras bas ballet position, her head held high both literally and metaphorically. The original sculpture resides in the house where Carrington and Ernst lived from 1938, St. Martin d’Ardeche.

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