12
12
Auguste Rodin
ÉTERNEL PRINTEMPS, SECOND ÉTAT, 4ÈME RÉDUCTION, DITE AUSSI 'NO.2'
JUMP TO LOT
12
Auguste Rodin
ÉTERNEL PRINTEMPS, SECOND ÉTAT, 4ÈME RÉDUCTION, DITE AUSSI 'NO.2'
JUMP TO LOT

Details & Cataloguing

Art Impressionniste et Moderne

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Paris

Auguste Rodin
1840 - 1917
ÉTERNEL PRINTEMPS, SECOND ÉTAT, 4ÈME RÉDUCTION, DITE AUSSI 'NO.2'
signed Rodin, inscribed with the foundry mark F. Barbedienne. Fondeur and workshop assistant stamps VL and M (on the interior)
bronze
hauteur : 9 3/4 in.
Conceived in 1884; this reduction conceived in 1898 and this example cast between 1905 and 1910.
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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 2014-4289B.

Provenance

Private collection, Amsterdam
Private collection, Europe

Literature

Léon Maillard, Auguste Rodin, Statuaire, Paris, 1899, illustration of another version pp. 121-22
Georges Grappe, Catalogue du Musée Rodin, Paris, 1927, nos. 69-70, illustration of another version p. 42
Judith Cladel, Rodin, London, 1936, illustration of the marble version p. 97
Georges Grappe, Le Musée Rodin, Paris, 1944, no. 87, illustration of another version pl. 56.
Robert Descharnes & Jean-François Chabrun, Auguste Rodin, London & Melbourne, 1967, illustration of another version p. 134
Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, nos. 56-57, illustration of another cast pls. 56-57
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 32b, illustration of another version p. 246
Rodin (exhibition catalogue), Fondation Pierre Gianadda, Martigny, 1984, no. 63, illustration of another cast p. 111
Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I, Paris, 2007, no. S.777, illustration of another cast p. 334

Catalogue Note

L’Eternel Printemps has the power and the universal impact that defines masterpieces. In the manner of the Baiser, of which it is in some ways a twin, the group was made during an intense period of work on La Porte de l’Enfer. Unlike the Baiser where the woman embraces her lover, L’Eternel Printemps is dominated by the wide movement of the male figure, echoed by the ascending curve of the female figure in perfect sensuality. Beyond all detailed passion, L’Eternel Printemps transcends feeling in the freedom with which Rodin mastered his medium.

Art Impressionniste et Moderne

|
Paris