Auguste RODIN (1840-1917) Danaïde, original... - Lot 147 - Magnin Wedry

Lot 147
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30000 - 50000 EUR
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Result : 96 000EUR
Auguste RODIN (1840-1917) Danaïde, original... - Lot 147 - Magnin Wedry
Auguste RODIN (1840-1917) Danaïde, original size also known as "petit modèle" - type I version, 1885 Bronze proof with shaded brown patina. Signed "A.Rodin" on the front center, with the founder's mark "Alexis Rudier/Fondeur PARIS" on the front right and with the inner stamp "A.Rodin". On a 1930-1940 label. Bronze proof circa 1930-1 21.8 x 39.2 x 28.2 cm Provenance: - Paris, Musée Rodin - Paris, Drouot, Me de Quay sale, 9/06/1989, n°32 - Paris, Drouot-Montaigne, sale Mes de Quay-Lombrail, 3/06/1993, n°9 - Paris, Yomiuri Art Gallery, (acquired at the above sale) - Yokohama, Spatial Design Consultants, (acquired above) - Taiwan, Private Collection - Paris, Galerie Univers du Bronze, 27-29 rue de Penthièvre, 75008 - French private collection This bronze is archived and listed in the archives of the Comité Rodin under no. 2009-2553B dated April 7, 2009. The buyer will be provided with a photocopy of this archiving decision. This work will be included in the forthcoming catalog Auguste Rodin critique de l'œuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay. A certificate from Galerie Univers du Bronze will be given to the buyer. Designed for La Porte de l'Enfer, circa 1885, this figure no longer appears in the latest version. Based on a mythological theme - the daughters of Danaos, the Danaids, are condemned to eternally fill a bottomless jar, having killed their young husbands on their wedding night - Rodin constructed above all a feminine landscape, emphasizing the line of the Danaid's back and neck. Exhausted by the sterility and inanity of her task, the Danaid rests her head "like a great sob" on her arm. Her flowing hair, described by Rainer Maria Rilke as "liquid", merges with the water dripping from her jar. As in the marble in the Musée Rodin, the flowing lines and admirable polish of the back contrast with the roughness of the rock (Source Musée Rodin).
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