Beschreibung:

Louise Bourgeois Rondeau for L incised with the artist's initials and number "L.B. 4/6" on the back right turning edge bronze 11 x 11 x 10 1/2 in. (27.9 x 27.9 x 26.7 cm.) Conceived in 1963 and cast in 1990, this work is number 4 from an edition of 6.
Provenance Cheim & Read, New York Private Collection, California (acquired from the above) Exhibited New York, Museum of Modern Art; Houston, Contemporary Arts Museum; Chicago, Museum of Contemporary Art; Akron Art Museum, Louise Bourgeois Retrospective, November 3, 1982 - January 5, 1984 (another example exhibited) Paris, Maeght-Lelong; Zurich, Maeght-Lelong, Louise Bourgeois Retrospektive 1947-1984, February - March 1985 (another example exhibited) Bridgehampton, Dia Art Foundation, Louise Bourgeois Works from the Sixties, May 25 - June 25, 1989, p. 4 (another example exhibited and installation view illustrated) Frankfurter Kunstverein; Munich, Stadtische Galerie im Lenbachhaus; Lyon, Musée d’art Contemporain; Barcelona, Fundación Tàpies; Kunstmuseum Bern; Otterlo, Kröller-Müller Museum, Louise Bourgeois A Retrospective Exhibition, December 2, 1989 - July 8, 1991 (another example exhibited) Columbus, Wexner Center for the Visual Arts, The Ohio State University, Inaugural Exhibition Part II - Art in Europe and America: The 1960s and 1970s, May 18 - August 5, 1990 (another example exhibited) New York, Barbara Toll Fine Arts, Human Hands (Modeled Sculpture), May 9 - June 6, 1992 (another example exhibited) Santa Monica, Linda Cathcart Gallery, Louise Bourgeois January 9 - February 27, 1993 (another example exhibited) Santa Fe, Laura Carpenter Fine Art, Louise Bourgeois Personages, 1940s / Installations, 1990s, July 31 - August 8, 1993 (another example exhibited) Vienna, Galerie Krinzinger Wien, Louise Bourgeois 1939-89 Skulpturen und Zeichnungen, May 18 - June 12, 1990 (another example exhibited) Monterrey, MARCO; Seville, Centro Andaluz de Arte Contemporaneo; Mexico City, Museo Rufino Tamayo Louise Bourgeois June 15, 1995 - August 15, 1996, p. 61 (another example exhibited and illustrated) Mahwah, Ramapo College of New Jersey, Heavy Metal: From Process to Performance, September 17 - October 17, 2008 (another example exhibited) London, Tate Modern; Paris, Centre Pompidou; New York, Solomon R. Guggenheim Museum; Los Angeles, The Museum of Contemporary Art; Washington, D.C., The Hirshhorn Museum and Sculpture Garden, Louise Bourgeois October 10, 2007 - June 7, 2009 (another example exhibited) London, Hauser & Wirth, After Awkward Objects: Lynda Benglis Louise Bourgeois Alina Szapocznikow November 17 - December 16, 2009 (another example exhibited) Buenos Aires, Fundación Proa; Sao Paulo, Instituto Tomie Ohtake; Rio de Janeiro, Museu de Arte Moderna, Louise Bourgeois The Return of the Repressed, March 19 - November 13, 2011, no. 20, p. 181 (another example exhibited and illustrated) Literature John Howell, ed., Breakthroughs: Avant-Garde Artists in Europe and America 1950 - 1990, New York, 1991, p. 102 (another example illustrated) Robert Storr, Paulo Herkenhoff and Allan Schwartzman, Louise Bourgeois London, 2003, p. 61 (another example illustrated) Catalogue Essay A few years before Louise Bourgeois’ death in 2010, a portfolio of her autobiographical, psychoanalytical writings surfaced, providing a deeper look into both her life and art. These analytical notebooks revealed even more profound themes than those illuminated through her daily journal entries that are ever-present in the artist’s prolific oeuvre. As evident through his repeated mention, these writings were inspired by the artist’s psychoanalyst Dr. Henry Lowenfeld, or “L” as she refers to him on paper, whom she began seeing for the first time in 1952. The writings describe an increasingly complex relationship between the Doctor and his patient, making it clear that Bourgeois felt a paradoxical sense of admiration for and frustration with him. Confirmed by the artist just before her death, this is the very same “L” referenced in the present lot, Rondeau for L. While many close to Bourgeois assumed the “L” in this title stood for the artist herself, the homage to Dr. Lowenfeld provides the sculpture with even more psychological undertones than if it were an