Aristide Maillol

Perls Gallery, New York
Sale: Sotheby's, New York, May 11, 1988, lot 316
Acquired at the above sale

Work is in very good condition. Dark greenish brown patina. Minor surface dirt around feet at base and in crevices in hands. Minor patina rubbing at tip of nose and a few tiny nicks on left side by figures left forearm, otherwise fine.
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.

No other theme is as synonymous with the sculpture of Maillol as the female nude. In the 1890s, the artist shifted his focus from paintings and tapestries to sculpture, the medium which would dominate his oeuvre for the rest of his life. His work began with the subject of clothed figures, but he soon moved beyond the rendering of drapery to concentrate on the elegance and grace of the body. His conception of the female figure was characterized by gentle swells and powerful stature. The current work, conceived in 1907, is a superior example of the artist's understanding of the female form.

The most frequent model for the women of Maillol's oeuvre was the beautiful Dina Vierny (see Fig. 1).

Fig. 1: Aristide Maillol and Dina Vierny, January 1944, photo by Louis Carré