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Provenance: Atelier de l'artiste
Cheim & Read Gallery, New York
Acquis auprès de celle-ci par le propriétaire actuel
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Notes: " f " : In addition to the regular Buyer's Premium, a commission of 5.5% (i.e. 6.578% inclusive of V. A. T.) will be charged to the Buyer. It will be refunded to the Buyer upon proof of export of the lot outside the European Union within the legal time limit.
Artist''s Resale Right ("droit de Suite"). If the Artist''s Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist''s collection agent.
Sculpture d'une immense sensualité qui explore l'opposition des deux sexes. Sculpture aux nombreux seins lourds et aux fesses charnues, corps phallique sans autres membres, ni bras, ni jambes qui rappellent les thèmes de prédilection de Louise Bourgeois, la féminité et l'ambiguïté des sexes. Ce corps tronqué, évoquant aussi la fragilité et la vulnérabilité de la femme, utilisé depuis l'antiquité avec notamment la Vénus de Willendorf.
Louise Bourgeois utilise en 2006 des formes et des éléments anciens qui témoignent de la persistance de ses préocupations. Elle créa notamment en 1975 un costume en latex arborant des rangées de tétines proéminantes.
La patine au nitrate d'argent donne à la sculpture cette couleur métallisée et froide qui contraste avec les formes généreuses accentuant alors l'ambiguïté et l'ambivalence de toute son oeuvre.
An immensely sensual sculpture which explores the opposition between the sexes. Sculptures with numerous large breasts and fleshy buttocks, phallic bodies without any arms, legs or other members, recalling Louise Bourgeois's favourite themes-feminity and gender ambiguity. this truncated, also evoking female fragility and vulnerability, used since Antiquity, particularly with "the Venus of Willendorf".
In 2006, Louise Bourgeois's use of ancient shapes and elements showed that her continued interest in these themes. In 1975 she created a latex costume with rows of nipples.
The silver nitrate patina used gives the sculpture the cold, metallic colour which contrasts with the generous, voluptuous shapes, accentuating and emphasizing the ambiguity and ambivalence present in all her work.
'UNTITLED'; SIGNED WITH INITIALS, NUMBERED, DATED AND WITH FOUNDRY MARK UNDER THE WORK; BRONZE WITH SILVER NITRATE PATINA.
