by Joseph Csaky (1888-1971)
France, conceived in 1919 & cast posthumously in 1974

27 9/16" high; 6 ½" wide; 5 1/8" deep

This important sculpture with a black patina is pure cubism at its earliest and at its best. It is made of contrasting sequences of repeated forms that move rhythmically and spin and rotate in a dynamic fashion.
It was conceived in 1919 and cast posthumously by the Atelier Csaky in 1974 in an edition of 8 with 2 artist's proofs and 2 hors commerce proofs.

Impressed CSAKY/ cachet of initials AC (for the Atelier Csaky)/ BLANCHET FONDEUR PARIS/ 3/8.

Csaky fought actively in World War I. When he started back to work after the war, his sculpture was different. It showed a new refined sculptural language. There is nothing in early modern sculpture comparable to his revolutionary work at this time. Csaky and Leger were friends and were represented by the same dealer, Leonce Rosenberg. They exchanged ideas at the Montparnasse cafe, the Closerie des Lilas. One can see the similarity between Csaky's sculpture of 1919 and Leger's paintings of the same period. The works of both artists evoke weight and volume. They show the influence of Purism, the most extreme form of the classical cubist aesthetic, which was born in 1918.

Galerie Vallois, Paris

Felix Marcilhac, "Joseph Csaky, du cubisme historique à la figuration réaliste, catalogue raisonné des sculptures", Édition de l'Amateur, Paris, 2007, p. 318 illus.
Edith Balas, "Joseph Csaky: A Pioneer of Modern Sculpture", American Philosophical Society, Philadelphia, 1998, p. 39, figs. 19 illus.
Catalogue Sammlung Brohan, "Kunst der 20er und 30er Jahre", Berlin, 1985, no. 104, illus p. 107.

$150,000 - Inv. #110