Private Collection, Cincinnati
Acquired from the above in 2017

Annette Barth, Alexander Archipenkos Plastisches Oeuvre, vol. II, Frankfurt, 1997, no. 284, illustration of another cast p. 478

The terracotta is painted in rich black. There are some minor abrasions to the surface, most notably to to the figure's lower back and leg as well as to the upper left chest. There are some extremely minor surface scratches consistent with the age of the object. The work is in overall very 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.

In Archipenko’s meditations on his career and evolving artistic style, he classified the torso as a motif that definitively exemplified his unique use of sculptural line. He reminisced, “there is a lyrical line in my style which may be compared to the long sound of one string on a certain Japanese instrument, called a suma-koto. Such a line is totally different from the nervous zigzag of Peruvian textile designs which are comparable to jazz music... In the work of art it is knowledge and feeling that determine the choice and the effect of line, if not directly, then through association. In sculpture very often the psychological and esthetic attraction arises from the outline where the shape of the space begins and matter is disregarded. In some cases, the opposite happens: psychological attraction is concentrated on the volume of the material surrounded by the outline and space is disregarded” (quoted in Archipenko, Fifty Creative Years, 1908-1958, New York, 1960, p. 61).