- 12
Auguste Rodin
Estimate
150,000 - 200,000 EUR
bidding is closed
Description
- Auguste Rodin
- 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.
Provenance
Private collection, Amsterdam
Private collection, Europe
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
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
Condition
Attractive rich brown patina. There is some wear to the patina in places and dust in the crevices. This work is in good condition.
"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 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."
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.