Stephan Abel Sinding

Purchased from the artist by the Norwegian diplomat, Frederick Peterson;
Thence by descent

The surface of the marble is weathered. There is some minor yellow staining to areas of the base and drapery. There are scattered, naturally occuring, inclusions to the surface, some of which are discoloured green. Otherwise the condition is good.
"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."

In a letter dated 11^th August 1932, Elga Sinding, the sculptor's widow, told the story of the creation of Printemps Victorieux. The Sindings had been in Paris for 3 and a half years during the Great War. Throughout the highs and lows, Sinding never lost the hope for victory, even in the darkest moments. He began to work on the present sculpture, calling it 'Victorious Spring.' His wife describes finding him in his atelier whilst at work on the Printemps: 'his face radiant, creating it gave him much pleasure.' When the bombs fell on Paris in the spring of 1918 the Sindings were very worried for the two marbles in the atelier, Printemps and L'Offrande. The sculptor was given permission to store the pieces in the cellar of the Sorbonne, where they remained till the end of the war. The sculptor died in 1922 and his widow affirmed that Printemps 'can well be called Stephan Sinding's last work, he finished l'Offrande afterwards... but it was begun much before.'

For the face of his sculpture Sinding was inspired by his patron's eldest daughter, Solveigh Peterson. The sculpture was complete by May 1919, when the Petersons held a reception at the sculptor's atelier, to give people an opportunity to view it before it was shipped to Norway. In 1932 Elga Sinding authorised a single bronze cast to be made, which stands as a public monument in the town of Moss in Norway. A plaster version was gifted by Elga to the Musée des beaux-arts in Lyon in 1934.

The marble is sold together with a dossier of letters from Sinding to Peterson.