Water color painter, Sculptor, Printer, Illustrator, b. 1888 - d. 1967
Ossip Zadkine (28 January 1888 – 25 November 1967) was a Russian-born artist who lived in France. He is primarily known as a sculptor, but also produced paintings and lithographs.
Zadkine was born on 28 January 1888 as Yossel Aronovich Tsadkin in the city of Vitsebsk, part of the Russian Empire (now Belarus). He was born to a Jewish father and a mother named Zippa-Dvoyra, who he claimed to be of Scottish origin.[5] Ossip had 5 siblings: sisters Mira, Roza and Fania and brothers Mark and Moses.
At the age of fifteen, Zadkine was sent by his father to Sunderland to learn English and ‘good manners’. He then moved to London and attended lessons at the Regent Street Polytechnic where he considered the teachers to be too conservative.[6] Zadkine settled in Paris in 1910. He studied at the Ecole des Beaux-Arts for six months. In 1911 he lived and worked in La Ruche. While in Paris he joined the Cubist movement, working in a Cubist idiom from 1914 to 1925. He later developed his own style, one that was strongly influenced by African and Greek art.
1921 he obtained French citizenship. Zadkine served as a stretcher-bearer in the French Army during World War I, and was wounded in action. He spent World War II in the US. His best-known work is probably the sculpture The Destroyed City (1951-1953), representing a man without a heart, a memorial to the destruction of the center of the Dutch city of Rotterdam in 1940 by the German Luftwaffe.
Ossip Zadkine (French, 1890-1967), Untitled, a suite of three from the Apollinaire series, all signed l.r., monochrome etchings, Ed.66/75, 31 by 21cm, framed (3). Note: Artist Resale Rights apply
Charcoal and pencil on paper. Inscribed and dated “Circa 1950” on the reverse Dimensions: 13.5 × 20.4 cm Provenance: Private collection of Jean-Philippe Ghaen, France Condition: For a detailed condition report, please contact: info@hammersite.com
OSSIP ZADKINE (Vitebsk 1890–1967 Paris) Les trois sœurs ou les trois grâces ou les trois belles ou les trois amies. 1926. Bronze, dark brown patina. Cast from 1926. Signed and inscribed lower right: O.ZADKINE / ORIGINAL. 53 × 41 × 22 cm. Provenance: - Galerie Livingood, Paris, probably directly from the artist’s estate. - Kunsthandel Tjerk Wiegersma, Deurne (Netherlands), acquired in the above gallery in 1972. - Private collection Netherlands, acquired in the above gallery in 1972. - Wiegersma Fine Art, Brussels, acquired from the above heirs in 2016. - Private collection Geneva, acquired in the above gallery in 2016. - Auction Koller, Zurich, 2 July 2021, lot 3258. - Private collection Monaco, acquired at the above auction. Exhibited: - Paris 1926, Salon des Tuileries, no. 2116. - Venice 1932, XVIII Biennale, Italian Pavilion, room 13, May–November 1932, no. 7. - Brussels 1933, Palais des Beaux-Arts, January 1933, no. 67 or no. 85. - New York 1937, Brummer Gallery, 25 January–20 March 1937, no. 15 or no. 30. - Paris 1937, Maître de l'art indépendant 1895–1937, Petit Palais, June–October 1937, no. 12 or no. 19. - Darmstadt 1953, Neue Darmstädter Sezession mit Ossip Zadkine, Mathildenhöhe, 6 December–11 October 1953, no. 39. - Cologne/Düsseldorf/Berlin/Amsterdam 1954, Zadkine. Wanderausstellung der Galerie Czwiklitzer, no. 10. - Toronto/Montreal/Winnipeg/Vancouver/Seattle/San Francisco 1956/57, Ossip Zadkine, The Art Gallery of Toronto/Montreal Museum of Fine Arts/Winnipeg Art Gallery/Vancouver Art Gallery/Seattle Art Museum/San Francisco Museum of Modern Art, October 1956–July 1957, no. 3 (dated 1924). - Paris 1958, Ossip Zadkine, Maison de la Pensée Française, July–October 1958, no. 52. - Japan 1959/60, Ossip Zadkine, travelling exhibition of Galerie Fujikawa, autumn 1959–spring 1960, no. 20 (dated 1927). Literature: - Sylvain Lecombre: Ossip Zadkine. L'Œuvre sculpté, Paris 1994, p. 220, no. 167 (with ill.). - L' Art vivant, Paris, October 1926, p. 873. - Selection chronique de la vie artistique, cahier 3, Antwerp 1928, p. 118. - André de Ridder: Zadkine, Paris 1929, p. 21 (dated 1927). - Pierre Humbourg: Zadkine. Collection "Les sculpteurs nouveaux", Paris 1930, p. 63. - Art et Décoration, Paris, October 1930, p. 119. - Winnipeg Tribune, 22 February 1957. - KölnerLeben, Cologne, 25 March 1960. - A. M. Hammacher: Zadkine, Paris 1961, p. 11 (dated 1929). - Kieler Nachrichten, 20 June 1961. - Tony Spiteris: Zadkine, Milan 1966, p. 8. - Garibaldo Marussi: Zadkine, in: Le Arti, Milan, June 1967, p. 31. - Ionel Jianou: Zadkine l'artiste et le poète, in: Journal Artcurial, Paris 1979, no. 141. - Anita Belobek-Hammer: Zum 100. Geburtstag Ossip Zadkines, in: Bildende Kunst, Berlin 1990, issue 7. ‘Les trois grâces’ was created in Paris in 1926, where Zadkine was shaped by the converging currents of Cubism, Expressionism and Futurism. Until that point, he had worked primarily in stone and wood, yet for the Salon des Tuileries of the same year he made the surprising decision to present two bronze figures, including the present sculpture. The present work marks a decisive turning point in Zadkine’s oeuvre. Whereas his earlier works remained strongly dependent on the original block and retained a relief-like character, bronze opened up entirely new artistic possibilities for him. He was now able to model complex, open compositions freely in space. Characteristic elements such as the interplay of convex and concave forms, as well as the incised linear structures also employed in the present bronze, exemplify his distinctive Cubist-Expressionist visual language. Sylvaine Lecombre, author of the catalogue raisonné, writes of the sculpture: ‘In “Les Trois Grâces”, the openings allow the figures to unfold freely in space. Zadkine only truly became comfortable with Cubism once he was able to apply its formal principles to his own subjects and artistic vision. In this group of three closely intertwined women, the concave cuts, the abrupt breaks in the joints and the flat surface of a face lose their severity. What may have been aggressive in Cubism becomes softened; what may have been mechanical is reclaimed by the human element.’ (Translated from: Lecombre 1994, p. 199). Zadkine’s sculptural oeuvre was deeply shaped by his engagement with Antiquity, with mythological themes occupying a central role. Here too, he returns to the subject of the Three Graces, a theme he revisited several times throughout his oeuvre, including in a larger version from 1950. A total of five casts of this bronze sculpture exist, four of which were produced later, some only after 1961. According to the Zadkine Research Centre, the present example is considered the first and only early cast from 1926, which was already exhibited at the Salon des Tuileries. Early casts are exceptionally rare and are seldom encountered on the art market. Whereas the later casts are numbered, this example remains unnumbered – an indication that Zadkine attached particular importance to this first cast and retained it in his possession for a considerable period of time. Three of the later casts are now held in museum collections, while the fourth remains in a private collection in the Netherlands. ------------------------------------------------- OSSIP ZADKINE (Wizebsk 1890–1967 Paris) Les trois sœurs ou les trois grâces ou les trois belles ou les trois amies. 1926. Bronze, dunkelbraune Patina. Guss von 1926. Unten rechts signiert und bezeichnet: O.ZADKINE / ORIGINAL. 53 × 41 × 22 cm. Provenienz: - Galerie Livingood, Paris, wohl direkt vom Nachlass des Künstlers. - Kunsthandel Tjerk Wiegersma, Deurne (Niederlande), 1972 in obiger Galerie erworben. - Privatsammlung Niederlande, 1972 in obiger Galerie erworben. - Wiegersma Fine Art, Brüssel, 2016 von obigen Erben erworben. - Privatsammlung Genf, 2016 in obiger Galerie erworben. - Auktion Koller, Zürich, 2.7.2021, Los 3258. - Privatsammlung Monaco, an obiger Auktion erworben. Ausstellungen: - Paris 1926, Salon des Tuileries, Nr. 2116. - Venedig 1932, XVIII Biennale, Italienischer Pavillon, Saal 13, Mai–November 1932, Nr. 7. - Brüssel 1933, Palais des Beaux-Arts, Januar 1933, Nr. 67 oder Nr. 85. - New York 1937, Brummer Gallery, 25.1.–20.3.1937, Nr. 15 oder Nr. 30. - Paris 1937, Maître de l'art indépendant 1895–1937, Petit Palais, Juni–Oktober 1937, Nr. 12 oder Nr.19. - Darmstadt 1953, Neue Darmstädter Sezession mit Ossip Zadkine, Mathildenhöhe, 6.12.–11.10. 1953, Nr. 39. - Köln/Düsseldorf/Berlin/Amsterdam 1954, Zadkine. Wanderausstellung der Galerie Czwiklitzer, Nr. 10. - Toronto/Montreal/Winnipeg/Vancouver/Seattle/San Francisco 1956/57, Ossip Zadkine, The Art Gallery of Toronto/Montreal Museum of Fine Arts/Winnipeg Art Gallery/Vancouver Art Gallery/Seattle Art Museum/San Francisco Museum of Modern Art, Oktober 1956–Juli 1957, Nr. 3 (datiert 1924). - Paris 1958, Ossip Zadkine, Maison de la Pensée Française, Juli–Oktober 1958, Nr. 52. - Japan 1959/60, Ossip Zadkine, Wanderausstellung der Galerie Fujikawa, Herbst 1959–Frühling 1960, Nr. 20 (datiert 1927). Literatur: - Sylvain Lecombre: Ossip Zadkine. L'Œuvre sculpté, Paris 1994, S. 220, Nr. 167 (mit Abb.). - L' Art vivant, Paris, Oktober 1926, S. 873. - Selection chronique de la vie artistique, cahier 3, Antwerpen 1928, S. 118. - André de Ridder: Zadkine, Paris 1929, S. 21 (datiert 1927). - Pierre Humbourg: Zadkine. Collection "Les sculpteurs nouveaux", Paris 1930, S. 63. - Art et Décoration, Paris, Oktober 1930, S. 119. - Winnipeg Tribune, 22. Februar 1957. - KölnerLeben, Köln, 25. März 1960. - A. M. Hammacher: Zadkine, Paris 1961, S. 11 (datiert 1929). - Kieler Nachrichten, 20. Juni 1961. - Tony Spiteris: Zadkine, Mailand 1966, S. 8. - Garibaldo Marussi: Zadkine, in: Le Arti, Mailand, Juni 1967, S. 31. - Ionel Jianou: Zadkine l'artiste et le poète, in: Journal Artcurial, Paris 1979, Nr. 141. - Anita Belobek-Hammer: Zum 100. Geburtstag Ossip Zadkines, in: Bildende Kunst, Berlin 1990, Ausg. 7. "Les trois grâces" entsteht 1926 in Paris, wo Zadkine von den aufeinandertreffenden Strömungen des Kubismus, Expressionismus und Futurismus geprägt wird. Bis dahin arbeitet er vorwiegend in Stein und Holz, entscheidet sich jedoch, für den Salon des Tuileries desselben Jahres überraschend zwei Bronzefiguren zu präsentieren, darunter auch diese Skulptur. Die vorliegende Plastik markiert einen entscheidenden Wendepunkt in Zadkines Œuvre. Während seine früheren Arbeiten noch stark vom Ausgangsblock abhängig und reliefartig geprägt sind, eröffnet ihm die Bronze neue gestalterische Möglichkeiten. Nun kann er komplexe, durchbrochene Kompositionen frei modellieren. Typische Elemente wie das Spiel von Konvex und Konkav sowie die eingeritzten Linienstrukturen, die auch in der vorliegenden Bronze angewendet werden, veranschaulichen exemplarisch seine kubistisch-expressionistische Formensprache. Sylvaine Lecombre, Autor des Werkverzeichnisses, schreibt über die Skulptur: "In 'Les Trois Grâces' erlauben die Lücken den Figuren, sich frei im Raum zu entfalten. Zadkine fühlte sich mit dem Kubismus erst wohl, als er dessen formale Prinzipien auf seine eigenen Themen und seine künstlerische Vision anwenden konnte. In dieser Gruppe von drei eng miteinander verbundenen Frauen verlieren die konkaven Schnitte, die plötzlichen Brüche in den Fugen, die flache Oberfläche eines Gesichts ihre Strenge. Was im Kubismus aggressiv gewesen sein mag, wird aufgeweicht, was mechanisch gewesen sein mag, wird vom Menschlichen zurückerobert". (Übersetzt aus: Lecombre 1994, S. 199). Zadkines bildhauerisches Werk ist stark von der Auseinandersetzung mit der Antike geprägt, wobei mythologische Themen eine zentrale Rolle spielen. Auch hier greift er das Motiv der drei Grazien auf, das er in seinem Œuvre mehrfach variiert, etwa in einer grösseren Version von 1950. Von dieser Bronzefigur existieren insgesamt fünf Güsse, von denen vier später, teils erst nach 1961, entstanden sind. Das hier angebotene Exemplar gilt laut Zadkine Research Centre als erster und einziger früher Guss von 1926, der bereits im Salon des Tuileries ausgestellt war. Frühe Güsse sind äusserst selten und kaum auf dem Kunstmarkt anzutreffen. Während die späteren Exemplare nummeriert sind, bleibt dieses unnummeriert – ein Hinweis darauf, dass Zadkine diesem ersten Abguss besondere Bedeutung beimass und ihn lange in seinem Besitz behielt. Drei der später gegossenen Exemplare befinden sich heute in Museen, das vierte in einer niederländischen Privatsammlung.
Ossip Zadkine 1890 Wizebsk - 1967 Paris - "The Lute Player" - (1965) Lithograph/paper. 82/200. 65 x 36 cm, 76.5 x 56.5 cm. Signed lower right: O. Zadkine. The sheet is loose. Browned.
Zadkine, Ossip (1890-1967) Portfolio ‘Sept Calligrammes. Guillaume Apollinaire’ 1967, containing 2 etchings, 66/75, signed and numbered, information sheet signed and numbered, ed. Christopher Czwiklitzer, Paris, 45.5 x 33.5 cm, slight signs of age Zadkine, Ossip (1890-1967) Mappe "Sept Calligrammes. Guillaume Apollinaire" 1967, mit 2 Radierungen, 66/75, u. sign./num., Info-Blatt sign./num., Hrsg. Christopher Czwiklitzer, Paris, 45,5x33,5cm, leichte Altersspuren
signed and dated on the lower left certificate of authenticity by Zadkin Research Center framed Ossip Zadkine studied at the Regent Street Polytechnic in 1905 and later moved to Paris in 1910. His experience in Paris played a decisive role in his artistic formation. Within the stimulating environment of the post-Impressionist movements and the avant-garde circle of artists such as Pablo Picasso and Amedeo Modigliani, he acquired a sense of freedom and boldness in his creative practice. He was also influenced by ancient Egyptian sculpture and primitivism, which led him to establish a unique sculptural language based on geometric construction and direct carving. His works are installed in public spaces around the world and are held in major institutions such as the Musée Zadkine (the former studio converted into a museum), the Royal Museum of Fine Arts Antwerp, and the Centre Pompidou. His geometric and powerful forms, which translate Cubist principles into sculpture, are internationally recognized as significant achievements in 20th-century sculpture. In Japan as well, through his connections with the Nika Association, he established ties with the Japanese art world, and his works are now held in museums across the country, including the Yamanashi Prefectural Museum of Art. Although this work is a two-dimensional piece, the overlapping planes and shifts in form strongly reveal a sculptural sensibility, as if the composition were being modeled in volume, allowing one to perceive the essence of Zadkine’s lifelong pursuit of sculptural expression. Multiple figures are closely arranged at the center of the composition, suggesting interrelated relationships through Cubist fragmentation and reconstruction of form. Their proximity and arrangement evoke a sense of intimacy and psychological connection. Color and form interact with one another; color permeates beyond contours, reconstructing physical overlaps as visual layers and blurring the boundaries of individual entities. The sharply defined, powerful outlines recall his identity as a sculptor, while the dense color fields and the contrast between blue and yellow bring a gentle vitality to the composition. Created around 1950, this work belongs to the period when Zadkine established his international reputation, including winning the Grand Prix at the 25th Venice Biennale. During this time, alongside sculpture, his gouaches and lithographs also gained increasing recognition, expanding the scope of his artistic expression. The striking blue tones seen in approximately 765 gouaches and drawings are among the defining characteristics of these works on paper and have maintained stable appreciation in the market. This work was created in the same year as his celebrated sculpture The Three Graces, now in the collection of the Yamanashi Prefectural Museum of Art. Despite the difference in medium, both works share a common formal logic in their compositional arrangement of figures and their treatment of volumetric mass. A comparison of the two reveals that, during this period, Zadkine conceived of the human figure not as an isolated entity, but as a relational structure in which forms interact and interpenetrate one another.
Ossip ZADKINE Femme lisant - 1938 Gouache sur papier Signé en bas à gauche "O.ZADKINE/38" Feuille: 72 x 54 cm - 28 3/8 x 21 1/4 in. Composition: 60,50 x 43,50 cm - 23 7/8 x 17 1/8 in. Provenance : Galerie Michel Rachline Collection Emmanuel d’André et ses filles (acquis auprès de cette dernière en 1970) Gouache on paper; signed lower left Ossip ZADKINE
Ossip ZADKINE Figures dans un intérieur - 1920 Gouache, aquarelle et crayon sur papier Signé et daté en bas à droite "Zadkine/1920" Feuille:62,70 x 48 cm - 24 3/4 x 18 7/8 in. Composition: 50 x 33,50 cm - 19 3/4 x 13 1/4 in. Provenance : Collection particulière, Japon Vente New York, Christie's, 14 septembre 2006, lot 86 Collection particulière, Belgique Vente Monte-Carlo, Me Tajan, 30 juillet 2007, lot 35 Collection particulière (acquis lors de cette dernière) Vente Paris, Christie's, 21 octobre 2022, lot 192 A l'actuel propriétaire par cessions successives Gouache, watercolor and pencil on paper, signed and dated lower right Ossip ZADKINE
Ossip ZADKINE Le bêcheur - 1927 Gouache sur papier Signé et daté en bas à gauche "O. Zadkine 27" Feuille: 61,30 x 44 cm - 24 1/8 x 17 3/8 in. Composition: 51,50 x 35,70 cm - 20 1/4 x 14 in. Provenance : Jean Van Parys, Bruxelles Collection particulière (acquis auprès de ce dernier en 1964) Vente Paris, Christie's, 20 mai 2011, lot 111 Acquis lors de cette vente par le père de l'actuel propriétaire Expositions : Bruxelles, Palais des Beaux-Arts, Zadkine, janvier 1933, n°164, p.32 Gouache on paper on paper; signed and dated lower left Ossip ZADKINE
Ossip Zadkine Jeune fille a la Colombe 1928 patinated bronze 31.25 h x 15.5 w x 9.75 d in (79 x 39 x 25 cm) Incised signature and foundry mark to lower edge 'Zadkine Grandhomme-Andro Fondeurs, Paris'. This work is from the edition of 5 produced at Grandhomme-Andro Fondeurs, Paris. Sold with a certificate of authenticity issued by The Zadkine Research Center. Provenance: Collection Helena Rubinstein | Parke-Bernet Galleries, New York, The Helena Rubinstein Collection: Modern Paintings And Sculptures Part One, 21 April 1966, Lot 610 | Greer Gallery, New York | Acquired from the previous in 1967, Private Collection, New York Literature: Zadkine, de Ridder, pg. 29, no. 29 (another example illustrated) Ossip Zadkine, La Sculpture ailee, Haesaerts, pg. 5 (another example illustrated) Zadkine, Jianou, pg. 70, no. 161 (another example illustrated) Ossip Zadkine, L'oeuvre sculpte, Lecombre, pg. 259, no 214 (another example illustrated) This work will ship from Lambertville, New Jersey.
Pencil on paper, 1914, signed 'Zadkine' and dated lower right, with a pencil sketch on the reverse, with label from Kunsthandel Lambert Tegenbosch, Heusden. 12 3/4 x 9 1/2 in. (sheet), 20 3/4 x 17 3/4 in. (frame).
Zadkine, Ossip (Russian/French, 1890-1967), Woman Playing Guitar [Femme a la Guitarre], 1962, etching in colors, signed, dated and numbered 75/90 in pencil to the lower margin, 21 x 15. inches, full margins, in a window mat 28 x 21 inches, unframed.
Ossip Zadkine, Fr./Russian (1890-1967) "Le Regard Multiple" Lithograph on Heavy Wove Paper signed and numbered 48/235 with seal of publisher Ars Librorum, Frankfurt, 1966 along with literature. Image area measures: 17" high, 12" wide, sheet size measures: 20" high, 15-1/2" wide. Kodner Galleries offers phone and absentee bidding at a low, flat 21% buyer’s premium without surcharge or hidden fees. For information, please contact the gallery at info@kodner.com or 954.925.2550 Condition: Good condition. Estimate: $100.00 - $300.00 In-House Shipping: Third party.
Ossip Zadkine* (Belarus 1888 - 1967 Paris) Constructive figure lithograph/paper 76,7 x 56,5 cm signed O. Zadkine, numbered 109/300 SCHÄTZPREIS / ESTIMATE °€ 200 - 400 STARTPREIS / STARTING PRICE °€ 200 Ossip Zadkine (Smorgon/Belarus 1890 – 1967 Paris) was a Russian-French sculptor of Cubism and Expressionism, specializing in dynamic figures, monumental sculptures, and war memorials. Born in 1890 in Smorgon (now Belarus) as the son of a Jewish art dealer, he studied at the École des Beaux-Arts La Palette in Paris from 1906 to 1911 under Henri Laurens. From 1911 onward, he participated in the Paris Autumn Salon exhibitions, became a French citizen in 1921, and taught as a professor at the École des Grandes Chaumière from 1945. He was married to Valentin Prax and created over 400 sculptures worldwide until his death. Zadkine created Cubistically fragmented figures, dance-like compositions, and expressive monuments with fractured forms, dynamic movement, and emotional intensity, influenced by Pablo Picasso, Romanian Expressionism, and African sculpture. Bronze castings, stone sculptures, and wood carvings with rhythmic fragmentation and humanistic drama. Further artists and styles: Henri Laurens, Pablo Picasso, Valentine Prax, Paris Autumn Salon, Grande Chaumière Paris, Cubism, Jacques Lipchitz, Alexander Archipenko, Constantin Brâncuși, École de Paris, Fritz Wotruba PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked ° at the estimate), a premium of 24% is added to the highest bid. The mandatory sales tax is added to the sum of the highest bid and the buyer's premium. This amounts to 13% for paintings, drawings, graphic works and sculptures and 20% for photographs and all other items. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
Ossip Zadkine (1890-1967). Attribué à . Bronze à patine claire représentant deux femmes enlacées. Oeuvre non signée et non numérotée. Elle est à rapprocher de la sculpture en bois d’ébène d’Ossip Zadkine intitulée «Intimité» et datée 1948. Bibl : Ossip Zadkine, l’Oeuvre sculptée, S. Lecombre, Ed. Paris Musées, Paris, 1994. N°417 p.474. Etat : Bon Hauteur : 49 cm Largeur : 19,5 cm Poids : 8 kilos 780 grs
Signed and numbered 143/200. Measures 22.5 x 16.625 inches image size and 30 x 22.25 inches sheet size. Lot measures 30.625 x 24 x .5 inches for shipping purposes only. Unframed, loose and not mounted or glued down. Excellent condition, very, very light toning over image area. The absence of a condition report does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the conditions of aging. Photos may also act as a condition report. Please review all photos closely prior to bidding and ask further questions if so desired.
Ossip Zadkine 1890 Smolensk - 1967 Paris Les fréres (Large-format original drawing) Indian ink on paper, 1959; H 640 mm, W 500 mm (mount dimension); signed and dated lower right ''O. Zadkine 59''; exhibition: Musee d`Art Moderne et d`Industrie Saint Etienne (verso label); provenance: private collection, Frankfurt
ZADKINE OSSIP (1890 - 1967). LOT COMPOSED OF N. 2 SHEETS. Signature and edition size: 30/30 56x38 cm, plate size: 33.5x24.5 cm Signature and edition size: 20/25 65x40 cm, plate size: 42x19 cm.
§ Ossip Zadkine (1890-1967), head of a man, patinated bronze, foundry mark of Susse Fondeur Paris, N° 4/5, H 35 cm Monogrammed and numbered to the left of the neck 'O.Z. 4/5'. Foundry mark to the back of the neck 'Susse foundeur, Paris'. The sculpture is included in the database of the 'Zadkine Research Center' (Belgium). Presented on a wooden base (H 15 - W 30 - D 30 cm), total H 50 cm. Is possibly subject to the Artist's Resale Right / consult ‘Conditions of Sale'
OSSIP ZADKINE (Russian/French, 1890-1967) "Hercules and the Bull, The Labours of Hercules" 1960 - Limited edition lithograph on rag paper, 104/350. Signed lower right, editioned lower left. Unframed. 20.25 x 26.75 inches. Excellent condition, never mounted or pinned.
Charcoal on paper Signed (lower right) Dimensions (including frame): 93 × 65 cm Dimensions (excluding frame): 72 × 52 cm Provenance: Private collection, Tel Aviv. Condition:For a detailed condition report, please email: info@hammersite.com
French Post War Zadkine, Ossip u. Guillaume Apollinaire Sept Calligrammes. 1967. Mit 10 Radierungen von Ossip Zadkine auf Arches Velin. 45 x 32 cm. Je signiert und nummeriert sowie im Impressum signiert und nummeriert. Lose Bogen und Kartons in OLeinen-Umschlag und -Decke. In OLeinenschuber. - Schuber schwach lichtrandig sowie partiell leicht berieben und etw. angestaubt, an den Kanten leicht bestoßen. Insgesamt sehr gut mit prachtvollen, ausgesprochen klaren und konstrastreichen Drucken. Czwiklitzer 65-74. - Monod 370. - Adler/Ernst 173. - Eines von 75 Exemplaren der Englischen Ausgabe. - Hg. Christopher Czwiklitzer, Paris 1967. - Sept Calligrammes vereint die poetische Bildsprache Guillaume Apollinaires mit der expressiven Grafik Ossip Zadkines zu einem eindrucksvollen Dialog zwischen Literatur und bildender Kunst. Zadkine, bekannt für seine skulpturalen Werke im Stil des Kubismus und Expressionismus, überträgt seine plastische Formensprache in zehn originalen Radierungen, die die typografisch gestalteten Calligramme Apollinaires begleiten.Zadkines künstlerische Praxis, die sich stets zwischen Materialität, Bewegung und Ausdruck bewegt, erweitert den poetischen Raum Apollinaires um eine eigenständige visuelle Dimension. So entsteht ein intensives Wechselspiel zwischen Wort und Linie, zwischen literarischem Experiment und bildnerischer Imagination. With 10 etchings on Arches vellum. Each signed and numbered, as well as signed and numbered in the imprint. Loose sheets and boxes in linen envelope and cover. In linen slipcase. Slipcase slightly foxed and partially slightly rubbed and somewhat dusty, edges slightly bumped. Overall very good with magnificent, exceptionally clear, high-contrast prints. - Czwiklitzer 65-74. - Monod 370. - Adler/Ernst 173. - One of 75 copies of the English edition. - Edited by Christopher Czwiklitzer, Paris 1967. - Sept Calligrammes combines Guillaume Apollinaire's poetic imagery with Ossip Zadkine's expressive graphics to create an impressive dialogue between literature and visual art. Zadkine, known for his sculptural works in the style of Cubism and Expressionism, translates his plastic formal language into ten original etchings that accompany Apollinaire's typographically designed calligrams. Zadkine's artistic practice, which constantly moves between materiality, movement and expression, expands Apollinaire's poetic space with an independent visual dimension. This creates an intense interplay between word and line, between literary experiment and visual imagination. Dieses Werk ist regelbesteuert. Auf den Zuschlagspreis fallen 24,95% Aufgeld sowie auf den Rechnungsendbetrag 7% (Bücher, Graphiken außer Sergraphien) bzw. 19% Mehrwertsteuer (nur für Serigraphien und Photographien) in der Europäischen Union an. This work is subject to the regular margin scheme. There is a 24.95% buyer's premium on the hammer price and 7% (Books, Prints except Screenprints) or 19% VAT (Screenprints or Photographs) on the final invoice amount in the European Union.
Titled "Lovers", numbered 144/210, dated 1964 and signed in graphite to the lower left. Sight size: 22.5" ht. x 16.5" wd., framed size: 34" ht. x 26.5" wd.
Ossip ZADKINE Personnages - 1924 Crayon sur papier Signature et date probablement rapportées en bas à droite "Zadkine / 24" 61 x 44 cm Provenance : Vente Londres, Phillips, 26 juin 1991, lot 68 A l’actuel propriétaire par cessions successives Pencil on paper; signature and date probably apocryphal lower right ; 24 x 17 3/8 in. Ossip ZADKINE 61 x 44 cm
Ennemis amicaux. 1962. Farblithografie auf Velin. Unterhalb der Darstellung mit Bleistift signiert und nummeriert: O. Zadkine, 118/200. Blattmaß: 76,5 x 56,5 cm. WVZ.: Czwiklitzer 127.
![Ossip Zadkine [1890-1967]](https://image.invaluable.com/housePhotos/Cnock/19/805519/H19974-L424921227.jpg)
