Lot 123
  • 123

George Minne

Estimate
18,000 - 25,000 GBP
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Description

  • George Minne
  • Baigneuse
  • signed: GMinne
  • bronze, gilt and green patina
with a label on the inside inscribed: SOCIÉTÉ ROYALE DES BEAUX-ARTS\ SALON DE PRINTEMPS \ MARS AVRIL 1936 \ Nom, Prenoms Minne (Baron George) \ Adresse Laethem St Martin Flandre Orientale \ Nature et sujet de l'oeuvre Baigneuse bronze 

Exhibited

Brussels, Société des Beaux-Arts, Salon du Printemps, 1936

Condition

Overall the condition of the bronze is very good with some minor wear and dirt to the surface consistent with age. There are some runners of a liquid along the left arm and head. There is an areas with some white pigment to the proper left knee and to her proper right side.
"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

George Minne conceived the composition of the Baigneuse when he was at the height of his creative powers in 1899. In the following three decades he revisited the nude on six occasions, adapting it in tandem with his own development as an artist. Several other landmark figures by the Belgian sculptor relate closely to the figure, including Eve (1913) and Offrande (1929). The present version of the Baigneuse is a cast with a beautiful mottled gilt patina based on the gesso of the third reincarnation from 1913 and marks Minne’s break with confrontational realism and advance to a more sensual exploration of the nude.

RELATED LITERATURE
L. van Puyvelde, George Minne, Brussels, 1930, p. 81, no. 65, pl. 60