31
31
Auguste Rodin
EVE, PETIT MODÈLE
Estimate
1,500,0002,000,000
LOT SOLD. 2,546,500 USD
JUMP TO LOT
31
Auguste Rodin
EVE, PETIT MODÈLE
Estimate
1,500,0002,000,000
LOT SOLD. 2,546,500 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

|
New York

Auguste Rodin
1840 - 1917
EVE, PETIT MODÈLE

Inscribed with the signature A. Rodin and with the foundry mark Alexis Rudier Fondeur Paris, and stamped with the signature in the interior

 


Bronze
Height: 29 3/4 in.
75.5 cm
Conceived in 1883 and cast in 1938.
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This work will be included in the forthcoming Catalogue Critique de l'oeuvre sculpté d'Auguste Rodin being currently prepared by Galerie Brame & Lorenceau under the direction of Jérôme Le Blay under the archive number 2008-1921B.

Provenance

Musée Rodin, Paris

Eugène Rudier, Le Vésinet (acquired from the above in May 1938)

Roger Lemal, Bordeaux (acquired from the above circa 1943-45 and sold: Sotheby's, London, June 27, 1990, lot 117)

Acquired at the above sale by the present owner

Literature

Georges Grappe, Catalogue du Musée Rodin, Paris, 1929, no. 55, illustration of the marble version p. 41

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 the present 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, ed., The Bronzes of Rodin, Catalogue of works in the Musée Rodin, vol. I, Paris, 2007, illustrations of another cast pp. 340 & 341

Catalogue Note

Conceived as part of Rodin's creations for his Gates of Hell, Eve is a sensual portrayal of the mother of humanity sheltering herself in her own embrace.  Depicted at the end of innocence, at the moment when she becomes aware of her nakedness, the psychological impact of Eve's revelation is rendered through the striking physicality of her pose.  The fullness of her figure and the beautifully modelled curving of her body reflect her strength as well as the vulnerability of this intense moment.  Rodin's working model for this sculpture was a life-size plaster that he never finished, allegedly because his model was pregnant and could not endure the long hours of posing.  The artist also completed two 'half-size' versions of the sculpture, sometimes referred to as Petite Eve.  The first version, also known as Eve jeune aux pieds plats, depicts the figure emerging from a roughly hewn base.  In the second version, the present work, which was first executed in marble in 1883 and known as Eve petit modèle - modèle à la base carrée et aux pieds plats, she becomes a free-standing figure.  The present bronze was completed with the sand casting method used by the Alexis Rudier Foundry in 1938.

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."

Impressionist & Modern Art Evening Sale

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New York