- 119
Aristide Maillol
Estimate
100,000 - 150,000 USD
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Description
- Aristide Maillol
- Ève à la pomme
- Inscribed Aristide Maillol, numbered 5/6 and stamped with the foundry mark C. Valsuani, Cire Perdue
- Bronze
- Height: 23 in.
- 58.4 cm
Provenance
Galería Conkright, Caracas
Private Collection, Caracas
Luhring, Augustine & Hodes Gallery, New York
Private Collection, Canada (acquired from the above in July 1985)
Thence by descent
Private Collection, Caracas
Luhring, Augustine & Hodes Gallery, New York
Private Collection, Canada (acquired from the above in July 1985)
Thence by descent
Literature
John Rewald, Maillol, New York, 1939, illustration of another cast pl. 76
Aristide Maillol (exhibition catalogue), Solomon R. Guggenheim Museum, New York, 1975-76, no. 24, illustration of another cast p. 50
Waldemar George, Aristide Maillol, Neuchâtel, 1977, no. 64, illustration of another cast p. 64
Bertrand Lorquin, Maillol, London, 1995, illustration of another cast p. 39
Aristide Maillol (exhibition catalogue), Solomon R. Guggenheim Museum, New York, 1975-76, no. 24, illustration of another cast p. 50
Waldemar George, Aristide Maillol, Neuchâtel, 1977, no. 64, illustration of another cast p. 64
Bertrand Lorquin, Maillol, London, 1995, illustration of another cast p. 39
Condition
Golden brown patina. There are a few light scratches on the back of the figure's right arm. Otherwise fine. This work is in very good condition.
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.
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.
Catalogue Note
By the late 1890s, when the present work was conceived, Maillol had returned to sculpture after a period of time devoted entirely to painting. He modeled both clothed and nude female figures in clay and terracotta, yielding detail to simplification of form and surface. He imbued his young female models with a simple grace and charm, wonderfully captured in Ève à la pomme.
The present sculpture is the product of Maillol’s ongoing fascination with the static and serene art of the Egyptians, the mystery of Khmer sculpture and especially the primitivism of the Greek archaic period. Maillol would later comment: “I prefer the still primitive art of Olympus to that of the Parthenon... it is the most beautiful thing that I have seen; it is more beautiful than anything else in the world. It is an art of synthesis, a higher art than ours today, which seeks to represent the human flesh. If I had lived in the 6th century, I should have found happiness in working with those men” (quoted in John Rewald, op. cit., p. 17).
Ève à la pomme shows how quickly Maillol's conception of the figure matured, forging a style that would evolve with greater subtlety in later years, yet would always remain true to fundamental ideas of form and subject. As noted by Bernard Lorquin, “Eve holding the apple is clearly the most accomplished expression of this series of experiments and is remarkable for the way it combines classical sobriety with a very clean treatment of the figure” (Bertrand Lorquin, op. cit., p. 38). The figure is casually posed, fresh and immediate in appeal. Despite its title, the nude seems remarkably free of any negative conception that applied to Eve in fin de siècle painting and sculpture.
The present sculpture is the product of Maillol’s ongoing fascination with the static and serene art of the Egyptians, the mystery of Khmer sculpture and especially the primitivism of the Greek archaic period. Maillol would later comment: “I prefer the still primitive art of Olympus to that of the Parthenon... it is the most beautiful thing that I have seen; it is more beautiful than anything else in the world. It is an art of synthesis, a higher art than ours today, which seeks to represent the human flesh. If I had lived in the 6th century, I should have found happiness in working with those men” (quoted in John Rewald, op. cit., p. 17).
Ève à la pomme shows how quickly Maillol's conception of the figure matured, forging a style that would evolve with greater subtlety in later years, yet would always remain true to fundamental ideas of form and subject. As noted by Bernard Lorquin, “Eve holding the apple is clearly the most accomplished expression of this series of experiments and is remarkable for the way it combines classical sobriety with a very clean treatment of the figure” (Bertrand Lorquin, op. cit., p. 38). The figure is casually posed, fresh and immediate in appeal. Despite its title, the nude seems remarkably free of any negative conception that applied to Eve in fin de siècle painting and sculpture.