Auguste Rodin

Alex Mandel, Montreal
Acquired from the above in 1973

Georges Grappe, Catalogue du Musée Rodin, Paris, 1927, illustrations of other versions p. 42
Georges Grappe, Catalogue du Musée Rodin, Paris, 1944,  illustration of a marble version p. 56
Bernard Champigneulle, Rodin, London, 1967, illustration of a larger bronze pp. 92-3
Robert Descharnes & Jean-François Chabrun, Auguste Rodin, Lausanne, 1967, illustration of a larger bronze pls. 56-57
Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, illustration of a smaller bronze pls. 56-57
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, illustration of the plaster on the cover, pp. 22 & 242; illustration of a larger bronze p. 243
Albert E. Elsen, Rodin's Art, The Rodin Collection, Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, New York, 2003, illustrations of a smaller bronze pp. 494-5; illustrations of a larger bronze p. 496
Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I, Paris, 2007, no. S.2473, illustration of another cast p. 332; illustrations of other bronzes, marbles & plasters pp. 331-37

The sculpture is in very good condition considering its age. It displays a uniform black patina that is in good condition. Original foundry seams that are inherent in the cast were noted on the male's PL shoulder and PL thigh, midway down the vertical rock, and circumscribing both of the male's feet. The cast exhibits some surface anomalies that include tiny bumps and an uneven texture on some of the surfaces. Two tiny nicks in the bronze were noted on the outside of the woman's PL forearm. Several inconspicuous small nicks were observed throughout the surface that appeared old and not recent damage. The artist's signature can be found on the PL back corner of the rock. The foundry Barbedienne is identified on the PR side of the rock-base. No new scratches or abrasions to the patina were observed on the sculpture. The sculpture is clean and displays a clear protective wax coating. The sculpture appears structurally sound. The above condition report has been provided by Wilson Conversation, LLC 100 East 5th St. Brooklyn, NY 11218 718-852-8894, objects@wilsonconservation.com, an independent restorer who is not an employee of Sotheby's.
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.

L'Éternel Printemps was one of Rodin's most popular sculptures of the 1880s. The theme of embracing lovers preoccupied Rodin and calls to mind the story of Paolo and Francesca, Dante's mythical paramours who were condemned to spend eternity locked in a maelstrom of passion. For the figure of the woman Rodin used the highly sensual Torse d'Adèle, 1882, which was named after the model who posed for the sculptor. This form was first used to the left of the tympanum of the Porte de l'Enfer and again later in La Chute d'un Ange, but it gained its greatest fame when it was united with the figure of the youthful male in the present work. As is often the case, it has been known under several names, notably Cupidon et Psyché, when it was exhibited at the Salon of 1898, as well as Zéphyre et la Terre. When Rodin received a commission for the first of the marble versions, it became apparent that the outstretched left arm and right leg of the male figure, extending freely into space in the first state, would have to be modified. Consequently the base was enlarged to provide support for the leg and outstretched arm.

Antoinette le Normand-Romain evokes the elegance and passion of this work and the inspiration behind it, “No one could make bodies ‘speak’ better than Rodin… The idea for the piece is said to have come to him while listening to Beethoven’s Second Symphony: ‘God, how he must have suffered to write that! And yet, it was while listening to it for the first time that I pictured Eternal Springtime, just as I have modeled it since,’ he confided much later to Jeanne Russell. At the peak of his powers, aided by the youth and openness of his models who posed for him, he conveyed his own euphoria in this group with a very skillful composition. Built on an X, whose elegant forms, enhanced by the languidness of the bodies and the delicacy of the embrace, made it one of his most acclaimed works” (Antoinette le Normand-Romain, op. cit., p. 335).