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“[Lachaise] was one of those rare artists who could on occasion achieve a likeness and psychological depth at the same time, a talent I greatly respect.”
—Louise BourgeoisOne of Gaston Lachaise’s final works, Garden Figure is exemplary of the artist’s signature redefinition of the voluptuous female nude. Inspired by the form of his wife, Isabel Dutaud Nagle, as his muse, this Rubensesque figure is the pastoral embodiment of fruitful abundance and demonstrates the artist’s formidable contributions to 20th century figurative sculpture. The sculpture is Lachaise’s second version of Garden Figure, and was developed from his first interpretation, which was commissioned in April 1935 by Nelson A. Rockefeller for his family’s estate in Pocantico, New York. The present cast of the second version of Garden Figure is one of the few large-scale sculptures in private hands by Lachaise, an increasingly rare-to-market artist who is widely regarded as one of the most pivotal figures in American modernism.A Storybook Romance
Despite their conspicuous formal contrasts, both versions of Garden Figure—as in most of Lachaise’s oeuvre—were passionate representations of his lover and muse, Isabel Dutaud Nagle. Indeed, the palpable adoration that permeates the sculpture is evocative of the couple’s fairy-tale romance: when the artist was studying at the Académie Nationale des Beaux-Arts in Paris, he glimpsed Isabel—a married American sojourning in the city—strolling along the Seine and fell in love with her at first sight. “At twenty, in Paris,” Lachaise later recalled of their meeting, “I met a young American person who immediately became the primary inspiration which awakened my vision and the leading influence that has directed my forces. Throughout my career, as an artist, I refer to this person by the word ‘Woman.’”i
“You—who give me the Goddess I seek to express in all my work.”
—Gaston Lachaise to Isabel Dutaud NagleLeaving his home and the epicenter of the modern art world, he followed her to the United States— where she resided with her husband and young son—with virtually no comprehension of English and only $30. Upon arrival, he was a sculptor's assistant and worked over 12 hour days, breaking only to sleep and see Isabel while he waited years for her to divorce in order to marry her in 1917.
Isabel Nagle photographed by Gaston Lachaise in Maine, circa 1913 At the Height of Success
By the time of the execution of Garden Figure in 1935, Lachaise was already regarded as one of the most important sculptors working in the United States; that same year, his career was spotlighted in an exhibition at the Museum of Modern Art, New York—the first retrospective of a living American sculptor to be held at the institution. This critical acclaim was mirrored by commensurate commercial success with wealthy, discerning patrons, including Rockfeller, who afforded Lachaise’s work considerable attention.
“[Lachaise was] the greatest American sculptor of his time.”
— ARTnewsThe first version of Garden Figure commissioned by the legendary businessman is now held by the Hood Museum of Art at Dartmouth College. Lachaise went on to produce four other cement casts, three of which are now in the permanent collections of Portland Museum of Art; Smith College Museum of Art, Northampton; and The Fralin Museum of Art at the University of Virginia, Charlottesville.i Gaston Lachaise, quoted in Gerald Nordland, Gason Lachaise: The Man and His Work, New York, 1974, p. 8.
Condition Report
Description
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Provenance
The Lachaise Foundation, Boston
Robert Schoelkopf Gallery, New York (acquired from the above in 1973)
Private Collection, Long Island (acquired from the above in 1984)
Thence by descent to the present ownerExhibited
New York, Robert Schoelkopf Gallery, Gaston Lachaise, October 20–December 6, 1973
Roslyn, The Nassau County Museum of Art, Monuments and Monoliths: A Metamorphosis, September 24–December 3, 1978, p. 7 (illustrated)
New York, Cheim & Read, Art Dealers Association of America: The Art Show, Gaston Lachaise and Louise Bourgeois: A Juxtaposition, March 5–9, 2014, n.p. (illustrated frontispiece and n.p.; titled Standing Woman)
New York, Christie's, Rockefeller Center and the Rise of Modernism in the Metropolis, January 17–February 25, 2015Literature
James R. Mellow, “Lachaise Nude Sculptures Displayed," The New York Times, October 27, 1973, p. 27
Gerald Nordland, Gaston Lachaise: The Man and His Work, New York, 1974, p. 161
Gaston Lachaise: Sculpture, exh. cat., Salander-O’Reilly Galleries, Inc., New York, 1991, no. 35, pp. 78–79, 84 (another example illustrated, pp. 78-79; titled Standing Woman)
Louise Bourgeois, “Obsession,” Artforum, vol. 30, no. 8, April 1992, p. 87 (another example illustrated; titled Standing Woman)
Gaston Lachaise Sculptures, exh. cat., Galerie Gerald Piltzer, Paris, 1992, pp. 25, 60 (another example illustrated, p. 25; titled Standing Woman)
Sam Hunter, Lachaise, New York, 1993, pp. 214–219, 245 (another example illustrated, pp. 214-219; titled Standing Woman)
Gaston Lachaise: The Monumental Sculpture, exh. cat., Salander-O'Reilly Galleries, New York, 1994, n.p. (another example illustrated; titled Standing Woman)
Linda Muehlig, ed., Masterworks of American Painting and Sculpture from the Smith College Museum of Art, New York, 1999, fig. 48, pp. 48, 170, 257, note 10 (plaster model illustrated, p. 170)
Gaston Lachaise, exh. cat., La Piscine - Musée d'art et d'industrie André Diligent, Roubaix, 2003, fig. 96, no. 79, pp. 132, 195 (another example illustrated, p. 132; titled Femme debout (Standing Woman))
Maine Moderns: Art in Seguinland, 1900-1940, exh. cat., Portland Museum of Art, New Haven, 2011, p. 112, note 1Artist Biography
Gaston Lachaise
Gaston Lachaise was a French American sculptor whose heroic depictions of women reconsider traditional portrayals of the female figure. Having studied sculpture in his native Paris at the École des Beaux-Arts and worked as a modeler for Art Nouveau jeweler Rene Lalique, Lachaise brought a considerable wealth of knowledge and talent with him to the United States where he moved in pursuit of his future wife and muse Isabel Dutaud Nagle. There, Lachaise would define the nude in new and powerful ways.
Although Lachaise was a highly skilled, versatile, and knowledgeable sculptor, his practice reached new heights in the United States as he refined the core of his work: the concept of the woman as an embodiment of fundamental force, inspired by his wife, whom he viewed as the paragon of potent womanhood. Not long before he created both versions of Garden Figure, Lachaise summed up what he sought to achieve in his art: “The main thing is vitality.” FOOTNOTE: New York Herald-Tribune (New York, N.Y.), January 14, 1935, p. 7 [interview].
Property from an Important Private Collection
166
Garden Figure (second state) [LF 137]
incised with the artist’s name “© G. LACHAISE” and the Estate stamp and number “LACHAISE ESTATE 1/8" on the lower left edge of the cast base; stamped with the Modern Art Foundry insignia "MODERN ART FOUNDRY NEW YORK N.Y." on the rear edge of the cast base
bronze with brown patina, on stone base
sculpture 77 1/2 x 31 1/2 x 23 1/2 in. (196.9 x 80 x 59.7 cm)
stone base 7 7/8 x 31 1/2 x 23 1/2 in. (20 x 80 x 59.7 cm)
Conceived in 1935 and cast in 1973 by Modern Art Foundry, this work is number 1 from an edition of 8 of which only 2 were produced.
We are grateful to Virginia Budny, author of the forthcoming catalogue raisonné sponsored by the Lachaise Foundation, for her assistance in preparing the catalogue entry for this work.
Estimate
$300,000 - 400,000
Annie Dolan
NY Head of Auctions and Specialist, Head of Sale, Morning Session
212 940 1288
adolan@phillips.com
Modern & Contemporary Art Day Sale, Morning Session
New York Auction 15 May 2024
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115
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116
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117
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118
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119
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120
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121
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122
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123
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124
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125
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126
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127
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128
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Untitled
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129
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130
Judith Rothschild
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131
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132
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133
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134
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135
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136
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137
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Untitled
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138
Joan Mitchell
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139
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140
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141
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142
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143
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144
Fritz Scholder (Luiseño)
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145
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146
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147
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148
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149
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150
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151
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152
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153
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154
Donald Judd
Untitled
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155
Lynda Benglis
Untitled
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156
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Untitled
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157
Olga de Amaral
Untitled
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158
Richard Serra
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159
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160
Agnes Martin
Untitled
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161
Ed Clark
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Estimate $50,000 - 70,000
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162
Gerhard Richter
Untitled 26.2.89
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163
Richard Serra
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164
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165
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Estimate $8,000 - 12,000
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166
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Estimate $300,000 - 400,000
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167
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168
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169
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Estimate $120,000 - 180,000
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170
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Estimate $80,000 - 120,000
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171
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172
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173
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174
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175
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176
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177
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178
Robert Indiana
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Estimate $60,000 - 80,000
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179
Robert Rauschenberg
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180
Ken Price
Lower
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181
Lawrence Weiner
Stretched As Tightly As Is Possible (Satin) & (Petroleum Jelly)
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182
Neil Jenney
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183
Joseph Kosuth
'Word, Sentence, Paragraph (Z. & N.) #16'
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184
Jack Goldstein
Untitled
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185
James Rosenquist
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Estimate $100,000 - 150,000
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186
Richard Estes
Staten Island Ferry Docking
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187
Richard Estes
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188
Isamu Noguchi
Small Wonder
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189
John McCracken
Vibe
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190
John McLaughlin
Untitled
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191
John McLaughlin
Untitled
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192
Alfred Leslie
Hipped
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193
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Lake Front Property
Estimate $120,000 - 180,000
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194
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195
Lorser Feitelson
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196
Jean-Paul Riopelle
Cold Climate
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197
Michael Goldberg
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Estimate $20,000 - 30,000
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198
James Brooks
Blow
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199
Friedel Dzubas
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200
Ilya Bolotowsky
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Estimate $25,000 - 35,000
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201
Ed Clark
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Estimate $50,000 - 70,000
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202
Alex Katz
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Estimate $40,000 - 60,000
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203
Andy Warhol
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Estimate $70,000 - 100,000
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204
Richard Pettibone
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Estimate $25,000 - 35,000
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205
Richard Pettibone
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206
Kenny Scharf
BEYOND
Estimate $150,000 - 200,000
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207
Peter Saul
He Forgot Something
Estimate $80,000 - 120,000
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208
Karel Appel
Bride
Estimate $50,000 - 70,000
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209
Karl Wirsum
Ahh! Macy's Grazed
Estimate $20,000 - 30,000
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210
Cundo Bermúdez
Arlequines
Estimate $40,000 - 60,000
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211
Gustav Klimt
Frontal stehend, linke Hand an die Hüfte gelegt (Standing Woman with Hand on Hip)
Estimate $25,000 - 35,000
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212
Armand Guillaumin
Gelée blanche à Crozant
Estimate $30,000 - 50,000
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213
Maurice Brazil Prendergast
The Beach and Along the Sea with Boat and People (double-sided)
Estimate $20,000 - 30,000
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214
Maurice Brazil Prendergast
Study St. Malo
Estimate $40,000 - 60,000
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215
Milton Avery
Young Mother and Child
Estimate $40,000 - 60,000
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216
Reginald Marsh
Coney Island (double-sided)
Estimate $18,000 - 25,000
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217
Willem de Kooning
Reclining Woman
Estimate $40,000 - 60,000
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218
Willem de Kooning
Reclining Women
Estimate $40,000 - 60,000
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219
Martín Ramírez
Untitled (Arches)
Estimate $10,000 - 15,000
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220
Jean Dubuffet
Réchaud-four à Gaz
Estimate $15,000 - 20,000
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221
Jean Dubuffet
Personnage
Estimate $40,000 - 60,000
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222
Hans Hartung
P10-1976-H20
Estimate $25,000 - 35,000
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223
Peter Saul
Study for Prune Head
Estimate $10,000 - 15,000
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224
Jean-Michel Basquiat
Free comb with Pagoda
Estimate $80,000 - 120,000
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225
Andy Warhol
Dollar Sign
Estimate $40,000 - 60,000
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226
Andy Warhol
Ladies and Gentlemen
Estimate $20,000 - 30,000
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227
Alexander Calder
Rose des sables
Estimate $40,000 - 60,000
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228
Alexander Calder
Grass
Estimate $40,000 - 60,000
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229
Alexander Calder
Untitled
Estimate $40,000 - 60,000
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230
Alighiero Boetti
Pisciarsi in bocca
Estimate $60,000 - 80,000
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231
Nuvolo (Giorgio Ascani)
Primavera Inoltrata
Estimate $15,000 - 20,000
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232
Daniel Spoerri
Tavola toscana (Post-Sevillane, Tableau piège)
Estimate $15,000 - 20,000
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