Lot 267
Back side
267
Alexander Archipenko
Symmetrischer Torso, 1921/1997.
Bronze with greenish patina
Estimate:
€ 70,000 - 90,000
$ 79,100 - 101,700
Symmetrischer Torso. 1921/1997.
Bronze with greenish patina.
With the name, date, and number stamped on the side. Copy 6/8 F from a series of 6 known bronze copies. Height: 72 cm (28.3 in).
Cast authorized by the Alexander Archipenko Foundation, New York. Posthumously cast by Modern Art Foundry, USA.
• A reduced sculpture of timeless elegance.
• Archipenko elevates the relationship between sculpture and space, volume and line to the defining principle.
• Once left behind in Europe, the plaster model of this work found its way back to the artist in 1956.
• Archipenko's sculptures are among the most innovative statements in avant-garde sculpture.
• Vibrant patina with a particularly fine luster.
PROVENANCE: Frances Archipenko Gray Collection, New York.
Galerie Thomas, Munich (acquired from the above).
Private collection, Rhineland-Palatinate (acquired from the above in 2012).
EXHIBITION: Archipenko, Galerie Maeght, Paris, 1997/98 (illustrated on p. 73).
LITERATURE: Hans Hildebrandt, Alexandre Archipenko. Sein oeuvre, Berlin 1923, catalogue raisonné no. 21 (marble version).
Anette Barth, Alexander Archipenko's plastisches Oeuvre. Vol. 2: Catalogue raisonné, Frankfurt am Main 1997, no. 137 (marble version, see note on p. 268 regarding the marble, terracotta, and early bronze versions).
This work is listed in the catalogue raisonné on the official website of the Alexander Archipenko Foundation under the number “s.21-01” and the work number “2294.”
-
Galerie Thomas (ed.), Alexander Archipenko. Skulpturen, Munich 2009, p. 36 (illustrated).
Called up: June 7, 2025 - ca. 17.42 h +/- 20 min.
Bronze with greenish patina.
With the name, date, and number stamped on the side. Copy 6/8 F from a series of 6 known bronze copies. Height: 72 cm (28.3 in).
Cast authorized by the Alexander Archipenko Foundation, New York. Posthumously cast by Modern Art Foundry, USA.
• A reduced sculpture of timeless elegance.
• Archipenko elevates the relationship between sculpture and space, volume and line to the defining principle.
• Once left behind in Europe, the plaster model of this work found its way back to the artist in 1956.
• Archipenko's sculptures are among the most innovative statements in avant-garde sculpture.
• Vibrant patina with a particularly fine luster.
PROVENANCE: Frances Archipenko Gray Collection, New York.
Galerie Thomas, Munich (acquired from the above).
Private collection, Rhineland-Palatinate (acquired from the above in 2012).
EXHIBITION: Archipenko, Galerie Maeght, Paris, 1997/98 (illustrated on p. 73).
LITERATURE: Hans Hildebrandt, Alexandre Archipenko. Sein oeuvre, Berlin 1923, catalogue raisonné no. 21 (marble version).
Anette Barth, Alexander Archipenko's plastisches Oeuvre. Vol. 2: Catalogue raisonné, Frankfurt am Main 1997, no. 137 (marble version, see note on p. 268 regarding the marble, terracotta, and early bronze versions).
This work is listed in the catalogue raisonné on the official website of the Alexander Archipenko Foundation under the number “s.21-01” and the work number “2294.”
-
Galerie Thomas (ed.), Alexander Archipenko. Skulpturen, Munich 2009, p. 36 (illustrated).
Called up: June 7, 2025 - ca. 17.42 h +/- 20 min.
Born in Kyiv in 1887, Alexander Archipenko left his homeland for France in 1908. Settling in Paris, he became acquainted with avant-garde painters such as Pablo Picasso, Georges Braque, and Amedeo Modigliani, which led to Cubism finding its way into his artistic work. While he tended toward sharp contours and fragmentary, convex-concave arrangements during this period, his “Symmetrical Torso” tied in with the new classicism that flourished in Europe after World War I. Archipenko emphasized a reductionist, classical impulse, transforming the human body into an elegant formal language. The relationship between sculpture and space, as well as between volume and line, became his defining criterion. Female nudes became one of his favorite subjects. The artist paid homage to beauty with his works and made it visible to the viewer. The present “Symmetrical Torso” is an excellent example of this endeavor.
Archipenko was particularly successful in establishing commercial contacts in Germany, where he had his first exhibition at the Museum Folkwang in Hagen in 1912, followed by shows at Herwarth Walden's gallery "Der Sturm" in Berlin, and Hans Goltz's gallery "Neue Kunst" in Munich the following year. He left Paris for Berlin in 1920; however, increasing political and economic uncertainty forced him to immigrate to the US in 1923. Early on, he focused on combining highly modern and traditional practices. After his emigration, he used the innovative techniques and materials he suddenly had at his disposal. Until the 1950s, Archipenko had hardly enough financial means to realize his works in bronze. It was not until the end of this decade, and thus only in the last years of his life, that he was allowed to experiment with patinated multicolored surfaces when the renowned Perls Galleries in New York represented him. At the same time, he could recover early plaster models he had left behind in Europe. The plaster figure of our work made its way back in 1956, and in 1959, he began a bronze edition. The harmony and beauty of Archipenko's “Symmetrical Torso,” combined with its iridescent green patina, are unparalleled. [AW]
Archipenko was particularly successful in establishing commercial contacts in Germany, where he had his first exhibition at the Museum Folkwang in Hagen in 1912, followed by shows at Herwarth Walden's gallery "Der Sturm" in Berlin, and Hans Goltz's gallery "Neue Kunst" in Munich the following year. He left Paris for Berlin in 1920; however, increasing political and economic uncertainty forced him to immigrate to the US in 1923. Early on, he focused on combining highly modern and traditional practices. After his emigration, he used the innovative techniques and materials he suddenly had at his disposal. Until the 1950s, Archipenko had hardly enough financial means to realize his works in bronze. It was not until the end of this decade, and thus only in the last years of his life, that he was allowed to experiment with patinated multicolored surfaces when the renowned Perls Galleries in New York represented him. At the same time, he could recover early plaster models he had left behind in Europe. The plaster figure of our work made its way back in 1956, and in 1959, he began a bronze edition. The harmony and beauty of Archipenko's “Symmetrical Torso,” combined with its iridescent green patina, are unparalleled. [AW]
267
Alexander Archipenko
Symmetrischer Torso, 1921/1997.
Bronze with greenish patina
Estimate:
€ 70,000 - 90,000
$ 79,100 - 101,700
Buyer's premium, taxation and resale right compensation for Alexander Archipenko "Symmetrischer Torso"
This lot can be purchased subject to differential or regular taxation, artist‘s resale right compensation is due.
Differential taxation:
Hammer price up to 800,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.
Regular taxation:
Hammer price up to 800,000 €: herefrom 27 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 21% and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 7 % is levied to the sum of hammer price and premium.
We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.
Calculation of artist‘s resale right compensation:
For works by living artists, or by artists who died less than 70 years ago, a artist‘s resale right compensation is levied in accordance with Section 26 UrhG:
4 % of hammer price from 400.00 euros up to 50,000 euros,
another 3 % of the hammer price from 50,000.01 to 200,000 euros,
another 1 % for the part of the sales proceeds from 200,000.01 to 350,000 euros,
another 0.5 % for the part of the sale proceeds from 350,000.01 to 500,000 euros and
another 0.25 % of the hammer price over 500,000 euros.
The maximum total of the resale right fee is EUR 12,500.
The artist‘s resale right compensation is VAT-exempt.
Differential taxation:
Hammer price up to 800,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.
Regular taxation:
Hammer price up to 800,000 €: herefrom 27 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 21% and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 7 % is levied to the sum of hammer price and premium.
We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.
Calculation of artist‘s resale right compensation:
For works by living artists, or by artists who died less than 70 years ago, a artist‘s resale right compensation is levied in accordance with Section 26 UrhG:
4 % of hammer price from 400.00 euros up to 50,000 euros,
another 3 % of the hammer price from 50,000.01 to 200,000 euros,
another 1 % for the part of the sales proceeds from 200,000.01 to 350,000 euros,
another 0.5 % for the part of the sale proceeds from 350,000.01 to 500,000 euros and
another 0.25 % of the hammer price over 500,000 euros.
The maximum total of the resale right fee is EUR 12,500.
The artist‘s resale right compensation is VAT-exempt.
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