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Eduardo Paolozzi 1924-2005 Shattered Head, 1956 Signed, numbered and stamped with foundry mark 'E. Paolozzi 5/6 Suisse Fond Paris' Gold patinated bronze. Conceived in 1956 and cast in a total edition of 9. 3 unnumbered editions were cast at Fiorini and Carney, London. This cast from an edition of 6 cast at Suisse Fondeur, Paris in 1958. 11 1/4 x 9 3/4 in, 28.6 x 24.8 cm Provenance Ayala Zacks, Toronto Private Collection, Toronto (acquired from the above and thence by descent) Private Collection, Toronto Exhibitions London, Hanover Gallery, Contemporary Sculpture, 24 July - 14 September 1956, cat no.46, illus. b/w, another cast London, Hanover Gallery, Paolozzi, 11 November - 31 December 1958, cat no.36, illus. b/w, another cast Wuppertal, Kunst-und Museumsverein, Sammlung Sir Edward and Lady Hulton, London, 13 June 1964, cat no.40, another cast; Rotterdam, Museum Boijmans Van Beuningen Frankfurt, Kunstverein Munich, Städtische Galerie im Lenbachhaus, 10 April - 16 May 1965; Dortmund, Museum am Ostwall; Humblebæk, Louisiana Museum of Modern Art, December 1965, cat no.40, another cast; Zurich, Kunsthaus, 3 December 1967 - 7 January 1968, cat no.41, another cast Hanover, Kestner Gesellschaft, Eduardo Paolozzi, 6 December 1974 - 19 January 1975, cat no.8, illus. b/w p.69, another cast Berlin, National Galerie, Eduardo Paolozzi, 5 February - 6 April 1975, cat no.15, illus. b/w p.77, Tate Gallery cast Edinburgh, Royal Scottish Academy, Eduardo Paolozzi, Recurring Themes, Summer 1984, cat no.A1.4, illus. b/w, p.22, Tate Gallery cast; Munich, Stadtische Galerie im Lenbachhaus, Autumn 1984; Cologne, Museum Ludwig, 1985; Breda, De Beyard Centrum Voor Beeldende Kunst, 1985 Literature Diane Kirkpatrick, Eduardo Paolozzi, Studio Vista, London, 1970, p.35, illus. b/w, pl.26, another cast illus. Winfried Konnertz, Eduardo Paolozzi, Du Mont Buchverlag, Cologne, 1984, p.82-85, 87, 270, illus. b/w pl.16, another cast illus. Bryan Robertson, Elisabeth Frink, Sculpture, Catalogue Raisonné, Harpvale Books, Salisbury, 1994, illus. b/w p.52, another cast illus. Robin Spencer (ed.), Eduardo Paolozzi: Writings and Interviews, Oxford University Press, Oxford, 2000, p.148, 150n, another cast illus. Eduardo Paolozzi's work has been described as 'battered but defiantly alive figures…[relaying] the gruesome details of horrific catastrophes wrought by man and nature in all parts of the globe'. In a similar vein to Moore's solid and heroic Helmet Heads, which were made in direct response to the witnessed violence and fears of an encroaching nuclear war, Paolozzi's shattered imagery confronted the same anxieties. Paolozzi's bronzes were created using the lost-wax casting method: the wax cast deliberately dropped on the floor, with the pieces then collected and re-assembled by Paolozzi using a hot knife. Judith Collins has suggested, 'this rough assembly was deliberate, mimicking the way fragments of ancient sculptures and pottery are dug up from the earth and then attempts are made to try and fit them together.' This anarchic approach neatly subverted the solemnity of Moore's modernism.