Sir Eduardo Paolozzi, R.A.

Geert van der Ween, Toronto, from whom acquired by a Private Canadian Collector by the early 1980s, and thence by descent to the present owner

London, Hanover Gallery, Contemporary Sculpture, July – September 1956, cat. no.53 (possibly).

 

The sculpture appears sound. There are one or two spots of rubbing to the protruding edges of the work. There are some traces of casting residue and light surface dirt. Subject to the above, the work appears to be in excellent good overall condition. The work is affixed to a wooden base with one bolt. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

We are grateful to Robin Spencer for his kind assistance with the cataloguing of the present work.

In 1955, Paolozzi took up a post teaching sculpture at St. Martin's School of Art and during the next six years he developed a new sculptural manner, creating often monumental pieces which incorporated his fascination with 'found' objects. The method by which these sculptures were produced was a crucial element in both their physical appearance and their relationship to the work of other artists of the time. The objects (which could be as diverse as bark, model cars, clock parts, gramophone components and a dismantled ex-RAF bomb sight) were initially pressed into clay to form a negative relief, from which wax moulds were taken. These wax positives were then twisted, torn and fastened together and finally cast by the lost-wax technique as unique bronzes. This unorthodox method of working was important for Paolozzi as it allowed him to combine his sculptural ideas with the collaged forms he had been working with previously and transform them into a solid three-dimensional object.