Graphite on paper. Featuring abstract figure head. Signed and attributed to Naum Gabo (British-Russian, 1890-1977). 11.8 x 6.7 in. (30 x 17 cm). Naum Gabo was a Russian sculptor involved in the Constructivist movement alongside Vladimir Tatlin. Employing materials such as glass, celluloid, plastic, stone, and metal, Gabo produced sculptures which sought to redefine traditional views on form and space. “Art is not concerned with the meditation about what is and how it came to be. That is a task for knowledge,†he once reflected. “Knowledge is born of the desire to know, art derives from the necessity to communicate and to announce.†Born Naum Borisovich Pevzner on August 5, 1890 in Bryansk, Russia, the artist studied medicine, art history, and philosophy at the University of Munich. Gabo changed his given last name early in his career to distinguish himself from his brother, the painter Antoine Pevsner. During World War I, Gabo took refuge in the city of Oslo for a number of years, returning to Russia only after the war had ceased. In Moscow, he became involved with Constructivism, producing works such as Head No. 2 (1916). However, Gabo’s interest in formal exploration were largely outside the political agenda of the newly formed Bolshevik state. Disillusioned by Moscow, Gabo moved to Berlin in 1922, lecturing at the Bauhaus and meeting a number of avant-garde artists including Kurt Schwitters. Due to the rise of the Nazi Regime in Germany, the artist moved first to Paris, then England, before settling in the United States in 1946. He died on August 23, 1977 in Waterbury, CT. Today, Gabo’s works are held in the collections of the Tate Gallery in London, The Museum of Modern Art in New York, and the National Gallery of Art in Washington, D.C., among others. PROVENANCE: Southern Ontario estate

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All authorship of items in this catalog are described according to the following terms:

By [Artist Name] : In our opinion, the work is by the artist.

Attributed to [Artist Name] : In our opinion, the work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : In our opinion, the work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : In our opinion, the work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : In our opinion, a work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: In our opinion, a work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century : In our opinion, this work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

Bears signature : In our opinion, the signature on the artwork may be spurious.
Apocryphal : Of doubtful authenticity.