The denied Archipenko
Alexander Archipenko: Horseman
Title: Horseman, 1916/Paris
Signiture: Archipenko 1916/Paris 4/5
Image of artwork:
Medium of
artwork:
bronze on the marble baseHeight: 770 mm
Length: 550 mm
Width: 250 mmWeight: 17 kg
Width: 250 mmWeight: 17 kg
The present state of the
sclupture:
It is in good condition, adequate for
its age.
Certificate for cultural goods: 401/1332/004/2014 from Gyula Forster National Centre
for Cultural Heritage Management Inspectorate of Cultural Goods
HUNGARY
(See
enclosed)
Owner: Miklos Saranszki
Addresse: 3656 Sajovelezd Banattanya EU
Hungary
Telephon number:
00-36-20-32-78-448
Exhibition history of
artwork
Archipenko participated between 1913-1919 on the art
exihbitions of the Arthouse Budapest (Budapesti Művészház). He had close connection with the Hungarian avantgarde
artists e.g. Laszlo Moholy-Nagy, Josehp Csaky, Lajos Kassak, Beni Ferenczy.
Lajos Kassak edited a periodical „MA” about the works of Archipenko in
1921/Vienna volume: VI/6.
Presumably the Horseman was exhibited
on one of the Exhibition of Arthouse Budapest, but it was not to seek out its
documentation.
Further exhibitions are unknown.
Provenance of
artwork
Objektive material examination:
Certificat Brussels Art Laboratory/
Réf. : EXP/Sara/2014 (11),
which unquestionably has been proved
that the statue was made in the years of 1910s,
they examined what kind of technology has been used to make
the signature.
This signature is totally comparable with the others
(e.g. the Seated concave has the same
signature: 1916 Paris).
(See enclosed the Certificat and the explanatory letter of Brussels
Art Laboratory.)
The Horseman
is the part of our 20th century art collection (Saranszki Collection), that
my uncle, Pal Saranszki started to collect, who was a famous violinmaker and he
had very large contact with the artists. He was the owner of the Horseman. He gave me the Horseman in the years 1980s. My uncle
died in 2000.
This sculpture survived Two World Wars and the hard
period of communist system. At that time in East-Europe, as in Hungary, it was
perilous risk to possess a valuable work of art as a privately owner. My family
preserved this sculpture from the World War II. like a
secret.
This scupture is registered by
Solomon R. Guggenheim Museum New York. Contact partner Mr David
Horowitz.
Two weeks ago I found an archive
photo of a statue of a Fabergé documentary . "Faberge: A Life of Its Own"
which I recently saw in the german television (http://www.3sat.de/mediathek/?mode=play&obj=56081).
Ms Rosamund Bartlett speaks about the russian artists of avantgarde, some art
works are displayed in the movie, among others, a sculpture about a man with a
horse (at 35 m 29 s),
In
addition:
Our realization about the Horsman sculpture
stylistic and comparative placement inside the ouvre of Archipenko:
The avantgarde sculptures of
Archipenko are include the following cubist shape elements, which were first
applied in the statuary by A. Archipenko:
the convex and concave surfaces, the
square-arches, the asyimmetrical half side torso body, visible feeling from that
is invisible, the sphere, which were characterise the our Horseman statue too.
Spheres and square-arche e.g. are on
the Carrousel Pierrot (conceived in
1913).
The convex and concave surfaces e.g.
are on the Combing her hair
(conceived 1914), Wolking soldier
(conceived in 1917) etc.
From the one starting-point setting
out statical balance solution is used on the Blue dancer (conceived in 1913), Red dancer (in 1912). This one
starting-point statical balance of the Horseman statue is the same solution.
The horse and rider
one-body-conception combined with visible feeling from that is invisible, this
is the same solution as the case of the Gondolier: one-body with the oar, the Carrousel Pierrot: one-body with the
carrousel, the Seated geometcic
figure: one-body with the wheel/ in 1913.
Fracies Archipenko Gray gave the opinion that she does not think that it would be the work of Alexander Archipenko creation. For me it was unacceptable short unscientific opinion. She could not interpret the outcome of the Brussels Art Laboratory. The statue is the material of the high tin content to certify that the work was only the beginning of the twentieth century. The signature carved into the plinth and subsequently verified. The sculptural techniques and technology used in the compliance era. The sculpture carries convex and concave elements used by Archipenko. The mutilated body parts are connected into one imaginary. The buttons that is found only in the Pierrot Carussel.etc.
VálaszTörlésThe only remaining original statue was made in Europe from Archipenko.
VálaszTörlés