Aristide Maillol

Dina Vierny, Paris

Acquired from the above by the present owner circa 1995

Tokyo, Mitsukoshi Art Museum, Shinjuku; Hokkaido, Hakodate Museum of Art; Kagawa, Takamatsu City Museum of Art; Akita Museum of Modern Art; Chiba Prefectural Museum of Art; Fukushima Prefectural Museum of Art; Hyogo, Himeji City Museum of Art, Maillol, 1994-95, no. 47, illustrated in the catalogue

Bertrand Lorquin, Aristide Maillol, London, 1995, n.n., another cast illustrated p. 108

Excellent condition. The bronze displays a mottled green patina that is in good condition. No scratches or abrasions noticeable.
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.

Maillol's focus on the female torso dominated his creative imagination, clearly bringing him much sensual pleasure. "This is the best part," he said, caressing the lines of the figure's right flank.  "It is very difficult to do a standing woman" (quoted in B. Lorquin, Maillol, New York, 1995, p. 107). Waldemar Georges explained that these figures, despite the lack of arms, Maillol’s torso “are not amputated, decapitated busts. They are organisms and are perhaps more complete than anatomies which imitate nature with its flaws, failings, and imperfections” (quoted in B. Lorquin, op. cit.). While the physical features of Maillol's female forms evolved throughout his career, the essential feminine qualities that the he expressed remained consistent.

Vénus sans bras is a clear reflection of Maillol’s captivation with illustrating the beauty of the female form. Maillol adored the famous Venus de Milo in the Louvre all the more because it was preserved without its arms, which he thought "would add nothing to its beauty; on the contrary they would probably detract from it" (quoted in B. Lorquin, Maillol, op. cit., p. 112). According to the late Dina Vierny, who issued a certificate for this work and also owned the work for many years, Vénus sans bras was cast by the Godard foundry in an edition of six numbered bronzes, plus two artist's proofs.