Alexander Archipenko (1887-1964)
Property from the Israel Museum, Jerusalem, Sold to Benefit the Acquisitions Fund:Selections from the Charlotte Bergman Collection
Alexander Archipenko (1887-1964)

Torso in Space

Details
Alexander Archipenko (1887-1964)
Torso in Space
signed 'ARCHIPENKO' (on the underside)
polished terracotta
Length: 20 ¾ in. (52.5 cm.)
Conceived in 1935-1936; this terracotta executed during the artist's lifetime
Provenance
Louis and Charlotte Bergman, New York and Jerusalem (by 1967).
Gift from the above to the present owner, 1992.
Literature
A. Archipenko, Archipenko: Fifty Creative Years, 1908-1958, New York, 1960, nos. 184-186 (other versions illustrated).
D.H. Karshan, ed., Archipenko: International Visionary, Washington, D.C., 1969, p. 115, no. 52 (larger bronze version illustrated, p. 78, pl. 114; dated 1936).
D.H. Karshan, Archipenko: The Sculpture and Graphic Art, Including a Print Catalogue Raisonné, Tubingen, 1974, p. 125 (another version illustrated).
D.H. Karshan, Archipenko: Sculpture, Drawings, and Prints, 1908-1963, Danville, Kentucky, 1985, p. 139, nos. 73-74 (other versions illustrated, p. 138).
D.H. Karshan, Archipenko: Themes and Variations, 1908-1968, Daytona Beach, 1989, p. 66 (another version illustrated, p. 67).
Exhibited
San Diego, La Jolla Museum of Art, Louis and Charlotte Bergman Collection, July-September 1967, no. 193 (illustrated; titled Reclining Figure).

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Vanessa Fusco
Vanessa Fusco

Lot Essay

Frances Archipenko Gray has confirmed the authenticity of this work.

According to Donald H. Karshan, the Torso in Space series was a "landmark innovation in the history of sculpture" (op. cit., 1989, p. 66). It was one of Archipenko's most serene and elegant achievements of the mid-1930s, created while the artist was living in Los Angeles. Archipenko places the streamlined abstract female form on a pair of cradled bases, lifting the sculpture off the surface below. "The centuries old theme of the reclining woman was expressed by sculptors as integral to the base on which the figure reposed. With Torso in Space, Archipenko 'freed' this subject from its horizontal moorings, so to speak, in a curvilinear shape of the female form that appears to float or be independent of its base" (ibid.).

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