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THE BERGMAN COLLECTION "The Bergmans' collection," writes art historian Dawn Ades, "is the fruit of a genuinely joint project, a shared commitment." Indeed, the Bergmans began their journey in collecting together. In a great books course, discussions of history, philosophy, and literature turned to examinations of fine art's role in culture and society; after class, the couple would often find themselves wandering into Chicago galleries and museums, enthralled by the work around them. Intellectually driven and with a penchant for self-study, the couple poured over classic volumes such as Alfred H. Barr's Masters of Modern Art, piecing together the story of art history as it culminated with the bold new styles of the mid-twentieth century. Their first substantial purchase, a Paul Klee gouache, heralded the beginnings of an ever-growing assemblage incorporating the best in Surrealism, Tribal Art, and Post-War painting, drawing, and sculpture. The collection included names such as Joseph Cornell, Balthus, Alexander Calder, Paul Delvaux, Roberto Matta, and Ren Magritte, as well as work by the Chicago Imagists and John Graham, Mrs. Bergman's preferred painter. The Bergmans were constantly expanding their personal circle of artists, curators, and scholars. The Chicago artist John Miller introduced the couple to local sculptors and collectors, and the Bergmans were drawn to dealers such as Richard Feigen and Allan Frumkin, who recognized their interest in Surrealist artists. "This was the period of the Abstract Expressionists," Mrs. Bergman said later, "and there was a question about which way we should go. But Surrealism appealed to us the most." By the late 1950s, the couple were established Surrealist collectors, traveling to Paris with friend and artist Wifredo Lam and meeting luminaries such as Alberto and Diego Giacometti, Man Ray, Max Ernst, and Matta - "It was extraordinary," Lindy Bergman remarked of the period. The Bergmans' enthusiasm for Joseph Cornell is now an integral and celebrated aspect of their collecting history. By the time they established the Edwin and Lindy Bergman Joseph Cornell Gallery at the Art Institute of Chicago in 1982, their collection included the finest examples from the artist's oeuvre. Nearly a decade later, Lindy Bergman made another first-class bequest to the museum: a collection of Surrealist masterworks by artists such as Dal, Ernst, Magritte, Picabia, and Tanguy. It was the largest gift to the Art Institute of Chicago in nearly half a century, one that transformed the museum into a premier destination for Surrealist work. Edwin and Lindy Bergman were hallmarks of the Chicago art scene, a vibrant segment of the American creative landscape that continues to climb in critical and art historical importance. As promoters of both international and local artists the Bergmans played a major role in the continuing reputation of Chicago as one of the world's most important destinations for great art. Their lifelong dedication and support to Chicago's landmark institutions -The Art Institute of Chicago; Chicago's Museum of Contemporary Art, where Edwin Bergman was one of the founders and president; their alma mater The University of Chicago, where they served on the Board of Trustees and funded the construction of the Bergman Gallery; and the Smart Museum of Art, where Lindy Bergman was awarded the Joseph R. Schapiro Award in 2000 for her extraordinary achievement in the visual arts-mark the Bergmans as one of the most significant and trailblazing couples in the Chicago art scene. The legacy of Edwin and Lindy Bergman demonstrates the power of passion, collaboration and dedication to the artists, art and their community. They acquired the work they loved, built a collection that was both unusual in its depth and intensely personal. Their lifelong commitment to the arts and philanthropy continues to inspire in Chicago and beyond, while enriching the lives of future generations who will benefit from their long-lasting generosity. In 1929, Man Ray introduced Alberto Giacometti to the interior designer Jean-Michel Frank, who would shortly open up shop with Adolphe Chanaux, and with whom the Giacomettis would collaborate from 1933 until the Second World War, creating an impressive range of home fixtures. According to Daniel Marchesseau: "they mainly created bases and andirons and also worked on models for wall sconces, floor lamps, and desk lamps... If Alberto contributed fantasy and exuberance to creations made for Frank, Diego gave them fullness and solidity. His sense of volumes and geometry would later assert itself in authoritative fashion" (Diego Giacometti, Paris, 1986, pp. 32-33). Their collaboration would prove exceptionally fruitful--the objects they created have been justly celebrated and their work gave much needed purpose to Diego's life, which had previously been devoted to "hanging around disreputable bars and taking part in shady escapades" (J. Lord, Giacometti, A Biography, New York, 1997, p. 122). With the encouragement of his brother, in the early 1950s, Diego began to create the furniture for which he would become famous. Yet it was only after Alberto's death that he felt free to express his own creativity, which was perceptible in the works created by the two artists for Jean-Michel Frank. Diego considered himself an artisan whose only goal was to create beautiful and useful objects. His friends and assistants spoke of his regard for exactitude and his desire that the works be practical, but also of his ceaseless creativity. His creations merge the worlds of sculpture and furniture design into one remarkable whole. His exquisitely designed and carefully crafted bronze tables, chairs and other functional objects are brought to life by the artist's unique imagination, his sense of proportion and his profound love of nature and the animal world.

Diego Giacometti (1902-1985)

Table basse trapézoïdale, Modèle aux harpies

細節

Diego Giacometti (1902-1985)
Table basse trapézoïdale, Modèle aux harpies
bronze with brown patina and glass top
Height: 15½ in. (39.4 cm.)
Length: 22 in. (55.8 cm.)
Width: 18 in. (46.2 cm.)
Conceived circa 1963; this bronze version cast by 1972

來源

Spencer A. Samuels & Company, Ltd., New York.
Acquired from the above by the present owners, May 1972.

出版

D. Marchesseau, Diego Giacometti, Paris, 1986, pp. 84-85 (other versions illustrated).

注意事項

On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.

榮譽呈獻

Max Carter

mcarter@christies.com Tel: +1 212 636 2076

Table basse trapézoïdale, Modèle aux harpies

榮譽呈獻

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更多來自印象派及現代藝術日間拍賣 (包括埃德加‧布朗夫曼家族珍藏)