François Arp, Paris
Ruth Tillard Arp, Paris (sale: Calmels Cohen, Paris, Collection François Arp, 12th June 2003, lot 35)
Purchased at the above sale by the present owner

Paris, Centre Pompidou, Musée National d'Art Moderne; Washington, National Gallery of Art; New York, The Museum of Modern Art, Dada, 2006, no. 27

Edouard Trier, Jean Arp, Sculpture 1957-1966, Supplement, London, 1968, no. III, illustrated p. 105
Ionel Jianou, Jean Arp, Paris, 1973, Addenda, no. III

There are some tiny natural wood specks to the base, visible in the catalogue illustration. There are some scattered pinhead-sized paint losses and some fine scuff marks to the lower part of the chalice. Apart from some scattered fine scratches to the lid and some light wear to the golden paint mostly towards the edges of the lid, visible in the catalogue illustration, this work is in good original condition.
"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."

The present work, Calice ("Chalice" in English) is an important and rare early collaborative work by the artist couple Jean Arp and Sophie Taeuber-Arp explained their rarity in Jalons (Meudon, 1951): 'I was always extremely reticent to participate in exhibitions, as I didn't feel that my works had re😼ached full maturity yet. It was for this reason that I destroyed so much of my work back then. The rare survivors of that era exist only thanks to my brother and friends who refused to return them to me to be destroyed. I even went so far as to steal a collage from my friend Tzara's hotel r♛oom to rip it up. My brother enjoys reminding me that one winter evening in Zurich I burned so many works in the little ceramic oven that it exploded from the heat.'

In the same essay, talking about Sophie Taeuber's works of the same time, Arp wrote: 'The serenity of Sophie Taeuber's works is difficult to understand if one lacks soul or lives in confusion. Some call this work 'appl🔜ied art.' This title comes from both ignorance and meanness. Art is just as meaningful when crafted from wool, paper, ivory, ceramic, or glass as from paint, stone, or clay. A gothic stained-glass window, a Coptic fabric, a Bayeux tapestry, or a Grecian urn are not considered decorative arts. Yet I have seen object sculp🎃ted by simple peasants that contain something beautiful and alive, just as lofty as a sculpted antique torso. Art is always free and frees the object to which it is applied.'