Weintraub Gallery, New York
Acquired from the above

Les Soirées de Paris, no. 25, Paris, June 15, 1914, illustration of the plaster p. 347
Ivan Goll, "Archipenko," in Horizont, no. 26, Vienna, 1921, illustration of the plaster p. 78
Hans Hildebrandt, Alexander Archipenko, Berlin, 1923, illustration of the plaster pl. 19
Lioubomir Mitzich, ed., Archipenko, Plastique Nouvelle, Belgrade, 1923, illustration of the plaster pl. 7 
Alexander Archipenko, Fifty Creative Years, New York, 1960, illustration of the plaster pl. 143
Archipenko: ein internationaler Visionär (exhibition catalogue), Smithsonian Institution, Washington, D.C., 1969, no. 19, illustration of another cast p. 55
Donald H. Karshan, Archipenko: Sculpture, Drawings and Prints 1908-1963, Danville, Kentucky, 1985, no. 25, illustrations of another cast p. 72
Anette Barth, Alexander Archipenkos plastisches Oeuvre, vol. II, Frankfurt am Main, 1997, no. 58, illustration of another cast p. 133

Work is in good condition. Attractive green and brown mottled patina. Work is mounted to a black stone base. Small scuff on base of bronze, with a few other minor scattered surface stains, 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.

Picasso and Braque's important introduction in 1912 of collage as a principle element of composition had a significant impact on the circle of Cubist painters and sculptors in Paris known as the Section d'Or. Katherine Jánszky Michealsen writes, "Archipenko used the lessons learned from making two-dimensional sculpture. The result was a departure from the the unified, continuous massing of traditional sculpture to a distinctive assembly of different parts" (Alexander Archipenko, A Centennial Tribute (exhibition catalogue), Washington, D.C., 1987, p. 24). 

In Statue on Triangular Base, Archipenko represents a gracefully turning body through the use of overlapping forms. While the figure is made up of varied forms—the angular head and shoulders, the pure sphere breast, the attached, articu𒀰lated arm—Archipenko combines these disparate shapes into a single motion, an elegant description of a woman's body in motion.