Pierre Sabatier

From the family of the artist

Overall very good condition consistent with age. Scattered scuff marks throughout the surface. Minor oxidation to the material throughout. Wear to the material to the bottom edges. Rust to the bottom edge of one of the panels. Warping to the surface throughout, most likely intentional. Please note that the colour in the printed catalogue is not accurate. Please refer to the online catalogue for an accurate depiction.
"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."

Sculptor Pierre Sabatier`s iron pieces emerged from large plates of beaten and treated metals in the 1950s. Empowered by architects, such as Le Corbusier, in addition to the 1% state-funded monument and installation work for Architecture in France that had recently been launched, he produced an array of work ranging from screen doors, walls and partitions to installations and sculptures very often commissioned for halls, schools and banks with a timeless artistic hand. Veronique Sabatier, the sculptor’s daughter recalls: “My father’s enthusiasm would carry us away on his journey. A time journey into the infinity of space, time and matter”.

These two panels, in brass, lead and wrought pewter, form part of the impressive wall installation for the entrance hall of Maison de la Coopération Agricole on Avenue de la Grande Armée in Paris, France. As a large-scale series of panels decorating the interior of the lobby, they flow along the edge of the entrance lobby space, at one point revealing a growing cumulus of striations and mineral patterns onto abstract matter.