Lot 408
  • 408

ARISTIDE MAILLOL | Pomone drapée

200,000 - 300,000 USD
Log in to view results
bidding is closed


  • Aristide Maillol
  • Pomone drapée
  • Inscribed A. Maillol and with the foundry mark E. Godard Fondeur Paris and numbered E.A 2/4 
  • Bronze
  • Height: 70 1/2 in.
  • 179 cm
  • Conceived in 1921; this example cast by Émile Godard, Paris.


Fondation Dina Vierny, Paris
Private Collection, Switzerland (acquired from the above)
Acquired from the above in 2012


Exposition Maillol au Japon (exhibition catalogue), Museum of Fine Arts, Yamanashi; Museum of Fine Arts, Hiroshima; Prefectural Museum of Fine Arts, Kumamoto; Prefectural Museum of Fine Arts, Ishikawa, Kanazawa; Prefectural Museum of Fine Arts, Ehime, Matsuyama; Prefectural Museum of Modern Art, Hoyogo, Kobe & Isetan Museum, Tokyo, 1984, no. S-68, illustration of another cast n.p.
Maillol (exhibition catalogue), Galerie Dina Vierny, Paris, 1987, illustration of the plaster p. 114
Bertrand Lorquin, Aristide Maillol, London, 1995, illustration of the plaster & of another cast p. 88
Maillol (exhibition catalogue), Rotterdam, Kunsthal Rotterdam; Paris, Musée Maillol & Tielt, Belgium, Uitgeverij Lannoo, 2012-13, no. 42, illustration in color of another cast p. 79

Catalogue Note

Pomone drapée was conceived in 1921 during a period when Maillol was working on several commissions for monumental sculptures. This life-size figure allowed him once again to explore a theme that had interested him during his early career. The sculpture was based on an earlier version of Pomone, which Maillol created in 1910. In that sculpture, the figure extends her arms in a rigid gesture of offering to the beholder. In the present work, however, the artist renders Pomone with a much more relaxed posture, allowing her arms to rest at her sides. The resulting sculpture appears more naturalistic than the earlier version, and possesses a lifelike softness that the original Pomone lacked. John Rewald wrote the following about Maillol’s sculpture: "To celebrate the human body, particularly the feminine body, seems to have been Maillol’s only aim. He did this in a style from which all grandiloquence is absent, a style almost earthbound and grave… The absence of movement, however, is compensated by a tenderness and charm distinctively his own" (John Rewald, in Aristide Maillol (exhibition catalogue), Rosenberg Gallery, New York, 1958, pp. 6-7).

This work will be included in the forthcoming Catalogue raisonné de l’oeuvre d’Aristide Maillol currently being prepared under the supervision of Olivier Lorquin.