Aristide Maillol

Dina Vierny, Paris
Private Collection
Acquired from the above by the present owner

Very good condition. Minor surface dirt. The variegated patina ranges from bright green on figure's right shoulder to a rich, dark brown. Very minor nicks - one in figure's chest, three at back of neck and several others - these appear to be inherent to the casting process. The patina in the figure's cheeks is uneven and has significant surface dirt and would benefit from a gentle cleaning and rewaxing. There is an inch-long scratch to patina behind left knee.
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.

The current work depicts Marie, the central figure that was the first of three figures Maillol realized for his majestic Les trois nymphes.  Maillol, in this instance, used his maid Marie, as his model who, like Dina Vierny, embodied the earthly attributes of Venus, the goddess of love.  In this depiction of Marie, the subject faces forward, gazing directly at the viewer with one arm poised delicately at her side, while her left hand is held in an inviting manner.  Maillol emphasizes the purity of the female form, accentuating the fecund curves that resonate throughout her body.

No other theme is as synonymous with the sculpture of Maillol as the female nude. In the 1890s, the artist shifted his focus from paintings and tapestries to sculpture, the medium which would dominate his oeuvre for the rest of his life. His work began with the subject of clothed figures, but he soon moved beyond the rendering of drapery to concentrate on the elegance and grace of the body. His conception of the female body was characterized by gentle swells and powerful stature. The current piece, conceived in 1931, is a superior example of the artist's understanding of the female form.