Auguste Rodin

Jean Limet, Paris (probably acquired from the artist between 1902-1917)
Sale: Lombrail-Teucqam, Hôtel Drouot, Paris, November 21, 2003, lot 51)
Galerie Sayegh, Paris (acquired at the above sale)
Private Collection (and sold: Christie's, New York, May 5, 2004, lot 248)
Acquired at the above sale

Robert Descharnes & Jean-François Chabrun, Auguste Rodin, Lausanne, 1967, illustration of another cast p. 77
Ludwig Goldscheider, Rodin Sculptures, London, 1970, illustration of the plaster pl. 32
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 11, illustration of another cast p. 169
Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. 2, Paris, 2007, illustration of another cast p. 628

Work is in very good condition. Very dark green patina with some red and blue hues visibile around crevices. Minor surface dirt in the deeper crevices as well as a few small spots of acretion and very minor surface stains around base, otherwise fine.
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 present work is an exceptionally rare lifetime cast originally owned by the artist's celebrated patineur, Jean-François Limet (see fig. 1). Limet's talent was unparalleled and he was known for exceptionally high standards in every detail of the casts he finished; at times even reworking foundry imperfections himself. Rodin used Limet almost exclusively from 1890 on, relying on him to give his bronzes their uniquely brilliant patinas—so much so, that Rodin continued to send Limet his casts even after the patinator moved his studio 100 kilometers north of Paris to the Bay of Somme.

This example of Faunesse agenouillée bears a beautifully modulated patina by Limet, which when closely examined reveals a breathtaking combination of green, blue and even red hues within its subtle surface. Later incorporated into La porte de l'enfer as part of the group Orphée et Ménades, the writer Gustave Geffroy described the figures whose, "slender, supple torso sways like a flower, [who], with hands clasped behind her head, makes a febrile movement of seduction and mockery, laughing all over her terrifying animal, feminine, mortuary face" (quoted in Antoinette le Normand-Romain, op. cit., p. 628). Geffroy himself purchased a cast of Faunesse agenouillée directly from Rodin, as did the famous German collector Max Linde in 1902, after seeing a photograph of the work which had so moved him that he was immediately overcome by the desire to possess the beautiful creature. That same year, Edvard Much came to Linde's home in Lübeck and drew Faunesse agenouillée in Linde's conservatory (see fig. 2).

Fig 1. Jean-François Limet and his son in their workshop circa 1920-30

Fig 2. Edvard Munch, "Danaïd and Fauness agenouillée in The Veranda", drypoint engraving in Aus dem Hause Max Linde, 1902, Museum für Kunst und Kulturgeschichte, Lübeck