Auguste Rodin

Gertrude Vanderbilt Whitney (probably acquired circa 1905-10)
Mrs. Samuel Peck (by descent from the above in 1944)
Gertrude Conner (by descent from the above in 1983)
By descent from the above in 2010

Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, illustration of another cast pl. 56-57
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 32b, illustration of another cast p. 243
Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Paris, 2007, illustration of another cast p. 334

The sculpture is in excellent condition. It displays a uniform dark brown patina that is in excellent condition. A foundry seam inherent in the cast was noted on the extended wrist of the male figure. The artist’s signature can be found on the back of the sculpture on the PL back corner. The foundry is identified on the base on the PR back corner. No scratches or abrasions were observed on the sculpture. The sculpture is clean and displays a clear protective wax coating. The sculpture appears structurally sound. The above condition report has been prepared by Wilson Conservation, Inc., independant contractors who are not Sotheby's employees.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Éternel Printemps was one of Rodin's most popular works of the 1880s. For the figure of the woman Rodin used the highly sensual Torse d'Adèle, 1882, which was named after the model who posed for the sculptor. This form was first used to the left of the tympanum of the Porte de l'Enfer and again later in La Chute d'un Ange, but it gained its greatest fame when it was united with the figure of the youthful male in the present work. As is often the case, it has been known under several names, notably Cupidon et Psyché, when it was exhibited at the Salon of 1898, as well as Zéphyre et la Terre. When Rodin received a commission for the first of the marble versions, it became apparent that the outstretched left arm and right leg of the male figure, extending freely into space in the first state, would have to be modified. Consequently the base was enlarged to provide support for the leg and outstretched arm. In addition to six examples in marble, a bronze edition, incorporating the changes, was cast in three different sizes by the Barbedienne foundry between 1898 and 1918.

The original owner of the present cast was celebrated philanthropist and founder of the Whitney Museum of American Art, Gertrude Vanderbilt Whitney (see fig. 1). An accomplished sculptor herself, Whitney studied under Rodin while in Paris at the turn of the century and received favorable critiques from the master. She likely purchased this work from the Barbedienne shop in Paris around 1905-10. 

Fig. 1  Gertrude Vanderbilt Whitney, first owner of the present cast, in her New York sculpture studio