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奧古斯特·羅丹
描述
- 奧古斯特·羅丹
- 《夏娃》
- 款識:銘刻 A. Rodin 及鑄造廠章 Alexis Rudier. Fondeur. Paris;蓋凸版簽名 A. Rodin(內部)
- 青銅(小型模型,方形底座款,或稱「足部平放」款)
- 高:29 5/8 英寸
- 75.2 公分
來源
Samuel Josefowitz (acquired from the above in May 1964 and sold: Parke-Bernet Galleries, New York, April 4, 1968, lot 125)
Barnett Shine (acquired at the above sale)
Acquired by descent from the above
展覽
出版
Judith Cladel, Auguste Rodin, sa vie glorieuse, sa vie inconnue, Paris, 1936, pp. 142-143
Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, illustration of the plaster, pl. 17; edition catalogued pp. 88-89
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, pp. 148-157, no. 8-5, illustration of another cast p. 154
Albert E. Elsen, The Gates of Hell by Auguste Rodin, Stanford, 1985, no. 64, illustrations of another cast pp. 74-78
Raphäel Masson & Véronique Mattiusi, Rodin, Paris, 2004, illustration of another cast p. 39
Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of the Works in the Musée Rodin, Paris, 2007, vol. I, illustrations of other casts pp. 340-341
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.
拍品資料及來源
A beautiful description of the work was written in 1903 by the poet Rainer Maria Rilke: "It shrivels like burning paper, it becomes stronger, more concentrated, more animated. That Eve [which] was originally to be placed over The Gates of Hell, stands with her head sunk deeply into the shadow of the arms that draw together over the breast like those of a freezing woman. The back rounded, the nape of the neck almost horizontal. She bends forward as though listening to her own body as a new future begins to stir. And it is as though the gravity of this future weighed upon the sense of the woman and drew her down from the freedom of life, into the deep, humble service of motherhood."
Other examples of this sculpture are in the following public collections: South African National Gallery, Le Cap; Carnegie Institute, Pittsburgh; Musée des Beaux-Arts de Nice; Musée du Berry, Bourges; City Museum and Art Gallery, Birmingham; Musée de la Sénatorerie, Guéret; Singer Museum, Laren; Wellington National Art Gallery, Wellington; Musée Mahmoud Khalil, Cairo; Joslyn Art Museum, Ohama and Fundacion Ralli, Punta del Este.