ARISTIDE MAILLOL | Baigneuse debout

Eloise & Otto Spaeth, New York
Theodore Schempp, New York
Mr. & Mrs. Edwin E. Hokin, Chicago (acquired from the above on October 15, 1961)
Hokin Gallery, Inc., Palm Beach
Acquired from the above on January 6, 1986

Chicago, Art Institute of Chicago, Masterpieces from Private Collectors in Chicago, 1969, n.n.

John Rewald, Maillol, New York, 1939, illustration of the bronze version pl. 72
Waldemar George, Aristide Maillol, Neuchâtel, 1977, illustration of the bronze version pl. 130

This work is in good condition. The terracotta is stable. The surface is somewhat dirty and there is some accumulation of dirt in the deepest crevices and wear consistent with age. There are a few black marks to the figures's leg on the right leg, right arm, back of the right arm, and buttocks.
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 received inspiration from the art of many cultures, including the sculpture of ancient Egypt, the Hindu carvings of India and the white marbles of classical Greece, the influence of which is heavily felt in the present terracotta (see fig. 1). Although he rejected naturalism in art, he admired the refined contours that revealed the sensuality and quiet grace of pure form. According to John Rewald, "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, where static poses and contained gestures convey an impression of gravity and stability" (John Rewald, Aristide Maillol (exhibition catalogue), New York, 1958-60, pp. 6-7).

The authenticity of this work has been confirmed by Olivier Lorquin.