Online Auction Catalogue

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1 Page 1 of 11 Online Auction Catalogue Lot # 001 HANS (JEAN) ARP French Fruit préadamite bronze sculpture with brown patina, 1938 signed with monogram, editioned 5/5 and stamped Susse Fondeur Paris 11 1/2 x 10 x 7 1/2 in, 29.5 x 23.5 x 17 cm Mrs. Marguerite Arp Edouard Loeb, 53 Rue de Rennes, Paris, was entrusted for sale to Edouard Loeb by Mrs. Marguerite Arp in December 1973 Waddington Galleries, Montreal Private Collection, Montreal Carola Giedion Welcker, Hans Arp, 1957, catalogue raisonné #51 Jean Arp, Dadaland, 1948, quoted in Hans Richter, Dada, Art and Anti-Art, 1964, page 25 W.S. Rubin, Dada, Surrealism, and their Heritage, The Museum of Modern Art, New York, 1968, page 40 Eduard Trier, Jean Arp, Sculpture , Catalogue of his Late Sculpture, 1968 Harold Rosenberg, "Pro-Art Dada: Jean Arp", The Dedefinition of Art, 1972, page 78 Ruth Apter-Gabriel, editor, The Arthur and Madeleine Chalette Lejwa Collection in the Israel Museum, Jerusalem, 2005, another cast from the edition referenced, accession #B Exhibited: The Israel Museum, Jerusalem, Dada, Surrealism and Beyond, February - June 2007, another cast from the edition, catalogue #B Online Auction is closed for bidding. There is an automatic 3 minute bidding extension if a bid is submitted on any lot within the last 3 minutes on the bidding clock. These time extensions will continue to occur until there is a 3 minute period during which no bidding takes place. Search by: All works Found: 14 works Showing works: 1 through 10 Sorted by Lot # Page # More lots available: April nd Session Fine International Art Highlights Lots #: closed for bidding April rd Session Fine International Art Lots #: closed for bidding This auction has multiple sessions. Click on the session name to see more lots. Showing lots from: April st Session Important modern sculpture: featuring Hans Arp, Henry Moore and Lynn Chadwick Lots #: closed for bidding Browse Entire Auction Catalogue New Search

2 Page 2 of 11 Search by Artist Select One Search by Subject Select One Search by Category Select One Search by Country Select One Search by Preview Location Select One Go to Lot# Click on each thumbnail to view a full version of each item. All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All acquisitions are subject to our Terms and Conditions of Business. Related links: Bidding Hotlist My Bids Register to Bid Shipping Terms and Conditions Catalogue Terms and Abbreviations Expert Bidding Tips Frequently Asked Questions

3 Page 3 of 11 Arp is associated with the very beginning of the Dada movement at Cabaret Voltaire, Zurich, in However, his work never seems to have had the abrasive quality of the early anti-art declarations of Tristan Tzara, or the flat rejection by Picabia of painting as such, or the ironic detachment of Marcel Duchamp. His work always had a playful quality, a humor and a gentleness that seems foreign to these masters. Arp was to Dadaism what Miró was to Surrealism: an eminent participant for sure, but too personal to really fit into a movement. And with time, neither Miró or Arp changed their basic attitude. In the case of Arp, you could say that he remained what he had always been, a free mind, a whimsical inventor of new forms and a creator of a nature parallel to the one we know. But by insisting too much on the playfulness, not to mention the childish fantasy of Arp, there is a danger in losing the real meaning of his contribution to modern art. Arp was first attracted to Cubism, but he was also one of the first to feel the need for something else. In a time when the human form and more generally the living form, was negated or destroyed during World War I in the name of reason, truth or order, (precisely the values claimed by the Cubists) he felt the need to express exactly the opposite. Revolted by the butchery of the War, he wrote in 1948 that, "we in Zurich devoted ourselves to the arts. While the guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might. We were seeking an art based on fundamentals, to cure the madness of the age, and a new order of things that would restore a balance between heaven and hell. We had a dim premonition that power-mad gangsters would one day use art itself as a way of deadening men's minds." Organic forms were to replace nicely constructed geometric space. Forms of life were to become the principal source of inspiration, instead of the clever scaffolding of elements seen from different angles. Freedom of inspiration - giving the same importance to a moustache, a cloud or a breast was to be preferred to the traditions maintained by the Cubists, who were still painting still life, portraits and landscapes. It is this rejection of the destroying power of reason, tragically illustrated by the War, that made Arp a Dadaist to start with, and the introducer of biomorphism to modern art. As William S. Rubin, then director of the Museum of Modern Art, New York, has stated, Arp's adoption of a "new curvilinear, organic morphology" influenced the whole Surrealist movement. He commented, "From that point on, biomorphism would be the nearest thing to a common form-language for the painterpoets of the Surrealist generations." This sculpture is of the post-dada period of Arp's work. It belongs to what he called his "concretions", as if the forbidden fruit of Fruit préadamite, 1938, was the result of a long mental process similar to sedimentation or stalagmite formation. It has nothing however, of the nature of a found natural object, like the Surrealists used to collect, and it is a sculpture on its own terms. Fruit préadamite belongs to the type of sculpture in which "a torso [...could] be a leg, a vegetable [could turn] into animal, a star that might be a starfish, buds that are breasts." It is not surprising that it could be of another race than Adam, and could even belong to what the seventeenth century French writer, Isaac La Peyrère called the Preadamite races. He argued that the existence of these races explained Cain's life after Abel's murder, which, in the Genesis account, involved the taking of a wife and the building of a city. When looking at Arp's Fruit préadamite, there is no need, however, to refer to this type of erudition. More lots available: April nd Session Fine International Art Highlights Lots #: closed for bidding April rd Session Fine International Art Lots #: closed for bidding This auction has multiple sessions.

4 Page 4 of 11 One has a delightful multi-meaning object, the parts of which could be read differently, depending on the connections one makes mentally when handling it. We thank François-Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay. Click on the session name to see more lots. Page # This work is accompanied by a photo-certificate inscribed: "Je, soussigné Edouard Loeb, 53 Rue de Rennes, Paris, Certifie que le bronze photographié cicontre, vendu à Waddington, de Montréal, intitulé 'fruit préadamite' par Arp, porte le no 5/5 d'une édition de 5 bronzes. Paris le 17 mai Reproduit sous le no 2/5 du livre Jean Arp, sculptures 1957/66, éditions Arthur Niggli S.A. Teufen (Suisse) " This work is registered in the Foundation archives, confirmation by Chiara Jaeger, Foundation Arp, March, $100,000 ~ $150,000 CAD Final Bid: $75,000 CAD Lot # 002 HANS (JEAN) ARP French Regard nocturne (Nächtlicher Blick) bronze sculpture with rich brown patina, edition 2/ /8 x 7 1/4 x 7 1/4 in, 29 x 22 x 19 cm Flair Gallery, Cincinnati Estate of Janet Kohlmeyer, New Orleans (acquired from the above in 1968) Sold sale of Impressionist and Modern Paintings and Sculpture (Part II), Christie's New York, May 9, 1991, lot 264 Private Collection, Montreal Eduard Trier, Jean Arp, Sculpture , Catalogue of his Late Sculpture, 1968, reproduced page 124, catalogue #315 The New Orleans Museum of Art, New Orleans Collects, 1971, catalogue #71, reproduced page 14 Exhibited: New Orleans Museum of Art, New Orleans Collects, November 14, January 9, 1972, catalogue #71 reproduced

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6 Page 6 of 11 Arp is associated with the very beginning of the Dada movement at Cabaret Voltaire, Zurich, in However, his work never seems to have had the abrasive quality of the early anti-art declarations of Tristan Tzara, or the flat rejection by Picabia of painting as such, or the ironic detachment of Marcel Duchamp. His work always had a playful quality, a humor and a gentleness that seems foreign to these masters. Arp was to Dadaism what Miró was to Surrealism: an eminent participant for sure, but too personal to really fit into a movement. And with time, neither Miró or Arp changed their basic attitude. In the case of Arp, you could say that he remained what he had always been, a free mind, a whimsical inventor of new forms and a creator of a nature parallel to the one we know. But by insisting too much on the playfulness, not to mention the childish fantasy of Arp, there is a danger in losing the real meaning of his contribution to modern art. Arp was first attracted to Cubism, but he was also one of the first to feel the need for something else. In a time when the human form and more generally the living form, was negated or destroyed during World War I in the name of reason, truth or order, (precisely the values claimed by the Cubists) he felt the need to express exactly the opposite. Revolted by the butchery of the War, he wrote in 1948 that, "we in Zurich devoted ourselves to the arts. While the guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might. We were seeking an art based on fundamentals, to cure the madness of the age, and a new order of things that would restore a balance between heaven and hell. We had a dim premonition that power-mad gangsters would one day use art itself as a way of deadening men's minds." Organic forms were to replace nicely constructed geometric space. Forms of life were to become the principal source of inspiration, instead of the clever scaffolding of elements seen from different angles. Freedom of inspiration - giving the same importance to a moustache, a cloud or a breast was to be preferred to the traditions maintained by the Cubists, who were still painting still life, portraits and landscapes. It is this rejection of the destroying power of reason, tragically illustrated by the War, that made Arp a Dadaist to start with, and the introducer of biomorphism to modern art. As William S. Rubin, then director of the Museum of Modern Art, New York, has stated, Arp's adoption of a "new curvilinear, organic morphology" influenced the whole Surrealist movement. He commented, "From that point on, biomorphism would be the nearest thing to a common form-language for the painterpoets of the Surrealist generations." This sculpture is from the post-dada period of Arp's work. It belongs to what he called his "concretions", as if the head shape of Regard nocturne, 1964 was the result of a long mental process similar to sedimentation or stalagmite formation. It has nothing however, of the nature of a found natural object, like the Surrealists used to collect and is a sculpture on its own terms. Regard nocturne very efficiently translates the sensation we have when looking into the dark and groping to find our way. At that moment we do not have two eyes and a mouth, but just this gaping aperture, slightly worried, which we could call desire. We thank François-Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay. This work is accompanied by a photo~certificate

7 Page 7 of 11 from the artist dated Meudon, October 30, 1964, which states: "Je, soussigné Jean Arp certifie que la sculpture reproduite au verso et s'intitulant 'Nächtlicher blick' en le no. 2 d'une édition de 5 bronzes. Meudon F64, Arp." This work is registered in the Foundation archives, confirmation by Chiara Jaeger, Foundation Arp, March, $50,000 ~ $70,000 CAD Final Bid: $40,000 CAD Lot # 003 LYNN CHADWICK British Maquette VIII, High Wind silver sculpture, 1986 editioned 7/20 and stamped with the artist's studio stamp and catalogue #C32A 7 1/8 x 2 x 3 in, 18.1 x 5.1 x 7.6 cm Private Collection, Toronto Dennis Farr and Eva Chadwick, Lynn Chadwick, Sculptor: With a Complete Illustrated Catalogue , 1997, reproduced page 364, catalogue #C32A The base of the sculpture measures 6 x 4 1/4 inches. $45,000 ~ $55,000 CAD $40,000 CAD Lot # 004 LYNN CHADWICK British Sitting Couple bronze sculpture, 1983 editioned 8/9 and stamped catalogue #C4 4 3/4 x 7 1/2 x 8 in, 12.1 x 19 x 20.3 cm Private Collection, Toronto Dennis Farr and Eva Chadwick, Lynn Chadwick, Sculptor: With a Complete Illustrated Catalogue , 1997, reproduced page 336, catalogue #C4 $40,000 ~ $50,000 CAD

8 Page 8 of 11 $35,000 CAD Lot # 005 LYNN CHADWICK British Sitting Woman bronze sculpture, 1989 editioned 4/9 and stamped with the artist's studio stamp and catalogue #C86 4 1/4 x 5 1/4 x 5 in, 10.8 x 13.3 x 12.7 cm Private Collection, Toronto Dennis Farr and Eva Chadwick, Lynn Chadwick, Sculptor: With a Complete Illustrated Catalogue , 1997, reproduced page 383, catalogue #C86 $20,000 ~ $25,000 CAD $16,000 CAD Lot # 006 HENRY MOORE British Bone Head bronze sculpture with deep brown patina, 1983 signed and editioned 2/9 5 1/4 x 3 1/4 x 2 1/2 in, 13.3 x 8.3 x 6.3 cm Dominion Gallery, Montreal, inventory #C8036 Private Collection, Montreal Alan Bowness, editor, Henry Moore: Complete Sculpture , Volume 6, 1999, reproduced page 57, plate #56 and catalogue #891 This work was cast by Fiorini foundry in London in $15,000 ~ $20,000 CAD $14,000 CAD Lot # 007

9 Page 9 of 11 HENRY MOORE British Dog's Head bronze sculpture, 1980 signed and editioned 3/9 4 5/8 x 5 3/4 x 3 11/16 in, 10.8 x 15.2 x 10.2 cm Dominion Gallery, Montreal, inventory #F7818 Private Collection, Montreal Alan Bowness, editor, Henry Moore: Complete Sculpture , Volume 6, 1999, plate #50 and catalogue #800 Exhibited: Galerie Bayeler, Basel, Henry Moore: Sculpture and Drawings, The Last Ten Years, 1982, another cast, catalogue #10 This work was cast by Fiorini foundry in 1980 in London. $7,000 ~ $9,000 CAD $6,000 CAD Lot # 008 HENRY MOORE British Girl and Dwarf bronze sculpture with brown patina, 1975 signed and editioned 1/7 6x 6 x 3 3/8 in, 14.6 x 15.2 x 8.3 cm Private Collection, Montreal This work was cast by Fiorini foundry in London in $25,000 ~ $35,000 CAD $20,000 CAD Lot # 009

10 Page 10 of 11 HENRY MOORE British Heads, Figures and Ideas book, 1958 signed and inscribed "For George J. Rosengarten from Henry Moore" 11 3/4 x 9 3/4 in, 29.8 x 24.8 cm George J. Rosengarten Private Collection, Vancouver This is a hard cover book designed by Henry Moore done in collaboration with George Rainbird in London, It was printed at Curwen Press, with illustrated paper-covered boards and a linen spine. The book consists of sketches, mainly black and white, but some in monochrome, with 65 facsimile message comments. This book includes a stone lithograph made by Moore especially for the book on handmade paper watermarked with the artist's signature. $1,000 ~ $1,500 CAD $700 CAD Lot # 010 HENRY MOORE British Heads, Figures and Ideas book, /4 x 9 3/4 in, 29.8 x 24.8 cm Private Collection, Vancouver This is a hard cover book designed by Henry Moore done in collaboration with George Rainbird in London, It was printed at Curwen Press, with illustrated paper-covered boards and a linen spine. The book consists of sketches, mainly black and white, but some in monochrome, with 65 facsimile message comments. This book includes a stone lithograph made by Moore especially for the book. $500 ~ $1,000 CAD $500 CAD Preview at: Heffel Fine Art Auction House Vancouver

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