M. & Mme. Jacquin, Paris (acquired circa 1930)
Christiane Jacquin, Paris (by descent from the above)
Acquired from the above circa 2009

Very good condition with a rich brown patina. Some minor accretion in the crevices. Otherwise fine.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Conceived thirteen years after Lipchitz's arrival in Paris from Vilna, this full-length sculpture of a seated clown exemplifies the artist's exploration of Cubism in a three-dimensional medium. Lipchitz received a traditional training at the École des Beaux-Arts and the Académie Julian, but early in his career displayed an interest in a wide range of sculptural styles, from classical to tribal. During his early years in Paris, Lipchitz met many of the leading figures of the Parisian avant-garde who introduced him to new artistic interpretations including the principles of Cubism. 

By 1922, when he executed the model for Pierrot assis, Lipchitz had developed an attuned sense of spatial composition influenced largely by his study of the Cubist works of Picasso, Braque and Gris. The artist was now able to effectively translate his two-dimensional conceptions into a three-dimensional form. Lipchitz utilized themes from the Commedia dell'arte that had become common currency in the work of Picasso, Gris and many of their contemporaries. He referred to this interest in his autobiography: “One of the first sculptures made in 1919 was the Arlequin à l'accordéon. It reflects my interest in eighteenth century paintings, particularly that of Watteau... The Pierrots and harlequins were part of our general vocabulary, characters taken from the Commedia dell'arte, particularly popular in the eighteenth century. We may have been attracted to them originally because of their gay traditional costumes, involving many different colored areas” (Jacques Lipchitz, My Life in Sculpture, New York, 1972, p. 58).

According to a 1963 letter♓ from the artist, the present work is a unique bronze cast of this form. Five examples exist in cast stone, two in “metal” and one in ꦜlead.