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Saint Clair CeminDouble Sculpture, unique sculptural study, Brazilian American sculptor, Signed1987
1987
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About the Item
Saint Clair Cemin (Brazilian-American)
Double Sculpture, 1987
Graphite and watercolor on paper
Hand signed, dated and titled on the back of the sheet (see photos)
Provenance: Daniel Weinberg Gallery, Los Angeles (with label on verso)
Brutten Herrick Collection, Philadelphia (with label on the verso)
Frame included
Measurements:
Framed:
25.25 inches vertical by 31 inches by 1.25 inches
Artwork alone:
18 inches (vertical) by 24 inches (horizontal)
Saint Clair Cemin Biography
Saint Clair Cemin (born Cruz Alta, Brazil in 1951) is a postmodern sculptor, professor, writer and film producer (610FILM). He lives and works in Woodbury, Connecticut and in Hydra, Greece.
His work encompasses multiple styles, approaches, and materials, from neo-surrealism to furniture to toys in popular culture to the history of sculpture. Cemin became interested in sculpting as a teenager. Once interested in philosophy and physics, he began to focus his attention on art, drawing and working on illustrations for magazines. Cemin earned his degree at École nationale supérieure des Beaux-Arts in Paris, France, from 1975-1978 where he learned printmaking for three years. He moved to New York City shortly after, where he worked in several fields, mostly with printmaking. From 1979 to 1983, Cemin went in a soul-searching mission, after seeing the exhibition of Joseph bueys at the Guggenheim. He finally began making sculpture in the summer of 1983. The artist's first exhibited sculpture was The Granny Ashtray, which has been described as an anti-modernist piece. Throughout the 1980s, Cemin became an integral part of NY's East Village art scene. Some of his works from this era are on permanent exhibition at important institutions such as the Museum of Contemporary Art in Los Angeles. After those formative years in NYC Cemin moved to Egypt and then Paris to pursue sculpture in different environments and with different mediums. After 2010 he returned to NY and continues to create sculptural works in his Brooklyn studio.
In 2012 Saint Clair Cemin had a public exhibition of works along Broadway in Manhattan. Of the several works exhibited on Broadway, one, "Vortex" at the corner of 57th street and Broadway, stood some 40 feet tall.
In 2005, Richard Milazzo's book on Saint Clair Cemin titled "Saint Clair Cemin: Sculptor from Cruz Alta" was published by Sikkema Jenkins & Co. A book of Saint Clair Cemin's art writings have been published by Edgewise Press titled Fragments of a Mind: Stories and Comments on Art 1987-2004.
In 1990 Saint Clair Cemins' first public sculpture was installed in the town of Reston, Virginia. Since then he has had large public monuments installed throughout the world, including "Open" in Schaumberg, Illinois, "Tree" in Bergen, Norway, "Spring" in Båstads Kommun, Sweden. The monument, "Supercuia" in Porto Alegre, Brazil and was completed in 2003. His public works also include "Fotini", "Three Graces", "Humanity", "Yggdrasil", and "Mercury Fountain". His custom works are featured prominently throughout Musée de la Chasse et de la Nature. Saint Clair Cemins' latest monumental work is the marble boat "Psyche". He received the Biennial Award from the Ueno Royal Museum and the Hakone Open-Air Museum in Japan in 1995.
Saint Clair Cemin's work is included in the collections of the Whitney Museum of American Art, Fonds National d’Art Contemporain, Paris, France; Emily Fisher Landau Collection, Long Island City, NY; Rooseum, Stockholm, Sweden; Eli Broad Family Foundation, Los Angeles, CA; Museum of Contemporary Art, Los Angeles; and Inhotim, Minas Gerais, Brazil.
- Creator:Saint Clair Cemin (1951, Brazilian)
- Creation Year:1987
- Dimensions:Height: 25.25 in (64.14 cm)Width: 31 in (78.74 cm)Depth: 1.25 in (3.18 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good studio condition with some waviness and undulations to the paper (see photos).
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745210654502
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View AllMaquette for Laureate (unique sculpture)
By Seymour Lipton
Located in New York, NY
Seymour Lipton
Maquette for Laureate, ca. 1968-1969
Nickel silver on monel metal
Unique
18 × 8 1/2 × 7 inches
Marlborough-Gerson Gallery, New York
Acquired from the above by the previous owner, 1969
thence by descent
Christie's New York: Monday, June 30, 2008 [Lot 00199]
Acquired from the above Christie's sale This unique sculpture by important Abstract Expressionist sculptor Seymour Lipton is a maquette of the monumental sculpture "Laureate" - one of Lipton's most iconic and influential works located on the Riverwalk in downtown Milwaukee, Wisconsin. Laureate is a masterpiece that was commissioned by the Allen-Bradley Company in memory of Harry Lynde Bradley and as an enhancement for the newly constructed Performing Arts Center. It is located on the east bank of the Milwaukee River at 929 North Water Street. The Bradley family in Milwaukee were renowned patrons of modernist sculpture, known for their excellent taste who also founded an eponymous sculpture park. For reference only is an image of the monumental "Laureate" one of Milwaukee's most beloved public sculptures. According to the Smithsonian, which owns a different unique variation of this work, "The full-size sculpture Laureate was commissioned by the Marcus Center for the Performing Arts in Milwaukee. In the initial drawings, Seymour Lipton combined details from the architectural plan with a wide variety of images, ranging from musical instruments to a lighthouse on the island of Tobago. He transformed the basic shapes from these sketches into a welded sculpture, which evokes a figure composed of columns, harp strings, and coiled rope. Lipton created this piece to celebrate achievement in the arts. The dramatic silhouette commands your attention, reflecting the title Laureate, which means worthy of honor and distinction. The final version of the piece is over twelve feet high and stands out against the pale, flat buildings of the arts center.,,"
Provenance
Marlborough-Gerson Gallery, New York
Acquired from the above by the previous owner, 1969
thence by descent
Christie's New York: Monday, June 30, 2008 [Lot 00199]
Acquired from the above Christie's sale
About Seymour Lipton:
Born in New York City in 1903, Seymour Lipton (1903-1986) grew up in a Bronx tenement at a time when much of the borough was still farmland. These rural surroundings enabled Lipton to explore the botanical and animal forms that would later become sources for his work. Lipton’s interest in the dialogue between artistic creation and natural phenomena was nurtured by a supportive family and cultivated through numerous visits to New York’s Museum of Natural History as well as its many botanical gardens and its zoos. In the early 1920s, with the encouragement of his family, Lipton studied electrical engineering at Brooklyn Polytechnic Institute and pursued a liberal arts education at City College. Ultimately, like fellow sculptor Herbert Ferber, Lipton became a dentist, receiving his degree from Columbia University in 1927. In the late 1920s, he began to explore sculpture, creating clay portraits of family members and friends.
In addition to providing him with financial security, dentistry gave Lipton a foundation in working with metal, a material he would later use in his artwork. In the early 1930s, though, Lipton’s primary sculptural medium was wood. Lipton led a comfortable life, but he was also aware of the economic and psychological devastation the Depression had caused New York. In response, he generally worked using direct carving techniques—a form of sculpting where the artist “finds” the sculpture within the wood in the process of carving it and without the use of models and maquettes. The immediacy of this practice enabled Lipton to create a rich, emotional and visual language with which to articulate the desperation of the downtrodden and the unwavering strength of the disenfranchised. In 1935, he exhibited one such early sculpture at the John Reed Club Gallery in New York, and three years later, ACA Gallery mounted Lipton’s first solo show, which featured these social-realist-inspired wooden works. In 1940, this largely self-taught artist began teaching sculpture at the New School for Social Research, a position he held until 1965.
In the 1940s, Lipton began to devote an increasing amount of time to his art, deviating from wood and working with brass, lead, and bronze. Choosing these metals for their visual simplicity, which he believed exemplified the universal heroism of the “everyman,” Lipton could also now explore various forms of abstraction. Lipton’s turn towards increasing abstraction in the 1940s allowed him to fully develop his metaphorical style, which in turn gave him a stronger lexicon for representing the horrors of World War II and questioning the ambiguities of human experience. He began his metal work with cast bronze sculptures, but, in 1946, he started welding sheet metal and lead. Lipton preferred welding because, as direct carving did with wood, this approach allowed “a more direct contact with the metal.”[ii] From this, Lipton developed the technique he would use for the remainder of his career: “He cut sheet metal, manipulated it to the desired shapes, then joined, soldered, or welded the pieces together. Next, he brazed a metal coating to the outside to produce a uniform texture.”[iii]
In 1950, Lipton arrived at his mature style of brazing on Monel metal. He also began to draw extensively, exploring the automatism that abstract expressionist painters were boasting at the time. Like contemporaries such as Jackson Pollock, Lipton was strongly influenced by Carl Jung’s work on the unconscious mind and the regenerative forces of nature. He translated these two-dimensional drawings into three-dimensional maquettes that enabled him to revise his ideas before creating the final sculpture.The forms that Lipton produced during this period were often zoomorphic, exemplifying the tension between the souls of nature and the automatism of the machine.
In the years following the 1950s, Lipton’s optimism began to rise, and the size of his work grew in proportion. The oxyacetylene torch—invented during the Second World War—allowed him to rework the surfaces of metal sculptures, thus eliminating some of the risks involved with producing large-scale finished works. In 1958, Lipton was awarded a solo exhibition at the Venice Biennale and was thus internationally recognized as part of a small group of highly regarded avant-garde constructivist sculptors. In 1960, he received a prestigious Guggenheim Award, which was followed by several prominent public commissions, including his heroic Archangel, currently residing in Lincoln Center’s David Geffen Hall.
A number of important solo exhibitions of his work followed at The Phillips Collection in Washington, DC (1964); the Milwaukee Art Center and University of Wisconsin, Milwaukee (1969); the Virginia Museum of Fine Arts in Richmond (1972); the Everson Museum in Syracuse, NY (1973); the Herbert E. Johnson Museum of Art of Cornell University in Ithaca, NY (1973); the National Collection of Fine Arts, Smithsonian Institution (now the Smithsonian American Art Museum) in Washington, DC (1978); and a retrospective in 1979 at The Jewish Museum in New York. In 1982 and 1984 alone, two exhibitions of his sculpture, organized respectively by the Mint Museum (Charlotte, NC) and the Hillwood Art Gallery of Long Island University (Greenvale, NY), traveled extensively across museums and university galleries around the nation. In 2000, the traveling exhibition An American Sculptor: Seymour Lipton was first presented by the Palmer Museum of Art of Pennsylvania State University in University Park. Most recently, in 2009, the Ackland Art Museum in Chapel Hill, NC mounted The Guardian and the Avant-Garde: Seymour Lipton’s Sentinel II in Context.
Since 2004, Michael Rosenfeld Gallery has been the exclusive representative of the Estate of Seymour Lipton and has presented two solo exhibitions of his work—Seymour Lipton: Abstract Expressionist Sculptor (2005) and Seymour Lipton: Metal (2008). In 2013, Michael Rosenfeld Gallery presented Abstract Expressionism, In Context: Seymour Lipton, which included twelve major sculptures by the artist, along with works by Charles Alston, Norman Bluhm, Beauford Delaney, Willem de Kooning, Jay DeFeo, Michael Goldberg, Adolph Gottlieb, Hans Hofmann, Lee Krasner, Norman Lewis, Conrad Marca-Relli, Boris Margo, Alfonso Ossorio, Richard Pousette-Dart, Milton Resnick, Charles Seliger...
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Provenance:
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Measurements:
Base:
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Work longest
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More about Dimitri Hadzi"
Derived from the figure and mythic narratives, Hadzi’s sculpture references antiquity and classical artifacts – abstracted anatomical forms, columnar and other architectural elements, helmets, weaponry and body armor function as visual metaphors for ancient cultures. “I was interested in mythology, and I was interested in movement,” Hadzi remarked on his years in Rome, “I was attempting through formal methods to exaggerate sexual tension or apprehension. Suddenly I was myself in an atmosphere of freedom.” [1] Powerfully rendered in bronze his sculptures convey raw emotion, brute strength and mass, tempered with a delicate rush of whimsy, vivacity and sensuality.
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Hadzi is included in the permanent collections of the Museum of Modern Art; the Whitney Museum of American Art; the Museum of Fine Arts, Boston; the Hirshhorn Museum and Sculpture Garden; The Phillips Collection and the Guggenheim Museum. Receiving over twenty sculpture commissions, Hadzi’s work appears in public squares, concert halls, federal and private plazas, and universities throughout the world.
---------------
[1] Elsen, Albert. “On Artistic Freedom: An Interview,” Dimitri Hadzi, (New York: Hudson Hills Press, 1996), 30.
Additional Biography:
Dimitri Hadzi (1921 – 2006) is among the most distinguished modernist sculptors, creator of works in bronze and stone that are powerfully abstract and expressionist in character. His contribution to the international language of sculpture continues to influence and inspire through permanent installations and collections, and exhibitions worldwide.
Born to Greek-American immigrant parents in New York City, he had a talent for drawing at an early age and won a prize for his young ability. But, it wasn't until after serving in the Air-force in the South Pacific during WWII that he turned his sights fully to painting and sculpture, going on to study both at Cooper Union. Eventually, he would become a mainstay of the Cambridge, MA art community. He was a Guggenheim Fellow (1957), the winner of the Venice Biennale Award (1962), and the Rome Prize (1974).
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