Auguste Rodin

Private Collection, France (acquired before 1940)
Thence by descent to the previous owner

Georges Grappe, Catalogue du Musée Rodin, Paris, 1927, nos. 87 & 88, illustration of the earlier bronze version p. 49
Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, illustration of another cast pl. 56
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 32b, illustration of another cast p. 243
Albert E. Elsen, In Rodin's Studio, A Photographic Record of Sculpture in the Making, Ithaca, 1980, illustration of the clay model pl. 48
Albert E. Elsen (ed.), Rodin Rediscovered, Washington D.C., 1981, no.313, illustration of the clay model in the artist's studio p. 68

Dark brown patina. Apart from a few small spots of patina wear to the extremities of the sculpture, 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Rodin's expressive sculpture most often aspired towards a tragic grandeur, describing the suffering of humanity in the epic mode. However, within his œuvre there are a few works that operate in a different emotional key, and L'Eternel Printemps is a work of radiant lyricism that celebrates love and spring. The work is generally accepted as being conceived in 1884, and may well have been inspired by Rodin's growing passion for Camille Claudel. The sculpture enjoyed great success when it was first exhibited and was produced in numerous editions; as well as six examples in marble, the Barbédienne foundry produced a large bronze edition in three different sizes between 1898 and 1918.

The figure of the woman in L'Eternel Printemps was taken from the highly sensual Torse d'Adèle from 1882, which was named after the model who posed for the sculptor. The figure was actually first used on the left of the tympanum of The Gates of Hell, and then later in La Chute d'un ange, but enjoyed its greatest success when united with the youthful male of the present work, which was originally known as Cupidon et Psyché when it was first exhibited at the Salon of 1898, as well as Zéphyre et la Terre.