Private Collection, Great Neck, New York (and sold: Parke-Bernet Galleries, Inc., New York, April 16, 1969, lot 63)
Fran & Ray Stark Foundation, California (acquired at the above sale)
Private Collection, New York
Private Collection, London
Whitford Fine Art, London
Acquired from the above by the present owner

London, Whitford Fine Art, London, Cubism and Neo-Classicism: Paris 1910-1950, 2004, no. 9, illustrated in color in the catalogue 

"The Collectors: Artistic Eloquence—Fran and Ray Stark's Beverly Hills House and Sculpture Garden" in Architectural Digest, December 1986, illustrated in color p. 176

The surface exhibits a natural variegated texture. There are minor surface nicks and light abrasions throughout. There may be a minor repair to the surface of the metal on the front of the figure's proper lower left side.There are some accretions to the deeper crevices, particularly along the base. The work would benefit from a clean and is in overall good 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.
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).

In a letter from the artist to the work's first owner, Lipchitz explained his process in creating this work: "...it seems to me that I made of this sculpture no more than seven copies, in any case, probably less. Five of them were made of artificial stone and two in metal, one in bronze and yours in lead. The lead was entirely chased by me and because of th🍬is fact can be considered as an original and unique sculpture" (Jacques Lipchitz, October 6, 1963).