Jacques Lipchitz (1891-1973) - Lot 228

Lot 228
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15000 - 20000 EUR
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Résultat : 15 000EUR
Jacques Lipchitz (1891-1973) - Lot 228
Jacques Lipchitz (1891-1973) La Fuite Model created in 1940; cast probably between 1942 and 1950 Bronze with brown patina Signed "JLipchitz" and bearing the artist's imprint H. 36.4 cm Provenance: Former Edmond Bomsel collection; by descent Related works : - Jacques Lipchitz, La Fuite, 1940, patinated plaster, size 37.2 x 37 x 22.2 cm, Paris, Centre Pompidou, on deposit at the Musée d'art et d'histoire du Judaïsme, inv. AM 1976-845 ; - Jacques Lipchitz, La Fuite, model 1940, cast between 1942 and 1950, bronze, signed "JLipchitz" size: 36.2 x 18.7 x 20.3 cm, Philadelphia, Philadelphia museum of art, inv. 2022-72-119. Exhibition: Jacques Lipchitz, Bruxelles, Palais des Beaux-Arts, January 17-February 28, 1959, our copy listed under no. 80. Related literature: - Jacques Lipchitz, My life in sculpture, London, Thames and Hudson, 1972, p. 142 ; - Nicole Barbeier, Lipchitz: œuvre de Jacques Lipchitz, 1891- 1973, Paris, Centre Georges Pompidou, 1978, model listed under no. 38, pp. 84-85; - Alan G. Wilkinson, The sculpture of Jacques Lipchitz: a catalog raisonné, New York, Thames and Hudson, 1996, vol. 1, model listed under no. 344, p. 111; - Jonathan Fineberg, "Lipchitz in America", in Lipchitz and the avant-garde: from Paris to New York, cat. Exp.Urbana-Champaing, Krannert Art Museum and Kinkead Pavillon, September 22, 2001-January 6, 2002, University of Washing- ton Press, pp. 57-68; - Sous dir. Brigitte Léal, Jacques Lipchitz: collections du center Pompidou, cat. exp., Nancy, musée des beaux-arts, December 17 2004-March 14 2005, Calais, musée des beaux- arts et de la dentelle, April 7-August 29 2005, Paris, Centre Pompidou, model listed under no. 55, p. 67, p. 51; - Lipchitz: les années françaises de 1910 à 1940, cat. Exp. Boulogne Billancourt, musée des années 1930, October 6-December 30, 2005, Parus, Somogy éd. D'art, 2005, model listed under no. 67, p. 103, p. 47. A man supports a woman and raises his arm in a protective gesture. Their bodies are leaning forward, a drapery flutters behind them, and they appear to be rushing forward. The dynamism of the scene is accentuated by the sinuous shapes that seem to merge into one another, creating an imbalance reinforced by the presence of just three legs. Created in 1940, this group reflects the condition of Jacques Lipchitz and his wife. As German troops entered France, the sculptor left Paris for Vichy and then Toulouse, abandoning his studio and his works. In the "Ville Rose", with no resources, he produced drawings and portraits. He did little sculpting, but buoyed by the hope of rescue and the desire to escape, he modeled a small sketch entitled La Fuite. When he reached the United States, he took with him only two sculptures, La Fuite and L'Enlèvement d'Europe (1941), as well as a few drawings. On his arrival in New York in June 1941, Lipchitz resumed his work as a sculptor in full, creating a counterpart to La Fuite entitled L'Arrivée. In the same vein, this work depicts a family, with the mother holding a child in her arms, reaching for the sky. A prelude to his American period, these two groups demonstrate an expressionism and compositional freedom that are both spontaneous and personal. In New York, Lipchitz met art dealer and publisher Curt Valentin, through the intermediary of art collector and dealer Joseph Brummer, who had organized his first New York exhibition in 1935. In early 1942, Valentin gave him an exhibition at the Buchholz gallery, where he presented the groups La Fuite and L'Arrivée. Thanks to this support, Lipchitz was able to cast these works in bronze. He first worked with the Roman Bronze Foundry, then, from 1942 onwards, almost exclusively with the Modern Art Foundry. A bronze of this model, cast between 1942 and 1950 by one of these two foundries, is preserved in Philadelphia. The catalog raisonné published in 1996 by Alan G. Wilkinson mentions an edition of seven. Our bronze comes from the collection of Edmond Bomsel, lawyer, bibliophile and director of the Sagittaire publishing house. Close to the Surrealists, he helped finance André Breton's Gradiva gallery in 1937. Alongside Dubuffet, Breton and Paulhan, he was one of the founders of the Compagnie de l'Art Brut. A committed collector, Edmond Bomsel regularly lends works from his collection to exhibitions. A case in point is our copy of La Fuite, presented at the Palais des Beaux-Arts in Brussels from January to February 1959, under catalog number 80.
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