.jpg?w=1)
拍品專文
Roger Cole refers to Sophie Brzeska calling this work a 'Dachshound'. Unlike the Fawns of late 1913 and early 1914, which remained realistic in their representation, this sculpture retains the proportions of the dog and abstracts from them. Consequently, the work is a pleasing combination of intuitive response, to animal form and geometric simplification, sympathetically expressed in semi-abstract terms (R. Cole, loc. cit.).
The marble piece was broken when owned by Ede and was later repaired, entering the collection of Sir Dyer Simpson, chairman of the insurance company. Silber writes 'it was presumably as a result of this that the cast(s) in plaster were taken to facilitate the making of the aluminium and later bronze casts' (E. Silber, loc. cit.).
Several of the bronze casts are in public collections, including two at Kettle's Yard, Cambridge; one in Tate, London; one in the Art Gallery of New South Wales, Sydney; and one in Musée National d'Art Moderne, Paris.
The marble piece was broken when owned by Ede and was later repaired, entering the collection of Sir Dyer Simpson, chairman of the insurance company. Silber writes 'it was presumably as a result of this that the cast(s) in plaster were taken to facilitate the making of the aluminium and later bronze casts' (E. Silber, loc. cit.).
Several of the bronze casts are in public collections, including two at Kettle's Yard, Cambridge; one in Tate, London; one in the Art Gallery of New South Wales, Sydney; and one in Musée National d'Art Moderne, Paris.