PROPERTY FROM THE MUSEUM OF MODERN ART, NEW YORK, SOLD TO BENEFIT THE ACQUISITIONS FUND Aristide Maillol Baigneuse accroupie (Crouching woman) incised with the artist's monogram and numbered "M 3/6" on the base; further stamped with foundry mark "Georges Rudier/Fondeur Paris" on the back of the base bronze 6 3/8 x 9 3/8 x 4 3/4 in. (16.2 x 23.8 x 12.1 cm.) Conceived in 1930 and cast circa 1952, this work is number 3 from an edition of 6 plus 1 artist's proof and is accompanied by a certificate of authenticity. The authenticity of this work has been confirmed by the late Dina Vierny. 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.
Provenance Georges Rudier Fondeur, Paris (circa 1952) Galerie Chalette, New York (acquired by 1957) Louise Reinhardt Smith, New York (acquired directly from the above on January 18, 1957) The Museum of Modern Art, New York (bequest from the above in 1995) Exhibited Tokyo, Musée Isetan, Exposition Maillol au Japon, 1984, S-45 (illustrated) New York, The Museum of Modern Art, Masterworks from the Louise Reinhardt Smith Collection, May 3 – August 22, 1995, pp. 48-49 (illustrated) New York, The Museum of Modern Art, MoMA2000, Modern Starts: People, Language of the Body, October 7, 1999 - February 1, 2000, p. 77 (illustrated) Literature An Exhibition of original pieces of sculpture by Aristide Maillol 1861-1944, exh. cat., Paul Rosenberg and Company, New York, 1958, no. 34, p. 35 (edition 4 of 6 illustrated) Aristide Maillol exh. cat., Der Kunstverein, Hamburg, 1961, no. 73, p. 44 (unknown edition number illustrated) George Waldemar, Aristide Maillol et l âme de la sculpture, Switzerland, 1964, p. 201 (unknown edition number illustrated) Aristide Maillol 1861-1944, exh. cat., Solomon R. Guggenheim Museum, New York, 1975, p. 86 (unknown edition number illustrated) George Waldemar, Aristide Maillol et l’âme de la sculpture, Editions Ides et Calendes, Neuchâtel, 1977, p. 203 (unknown edition number illustrated) Maillol, exh. cat., Palais des Rois de Majorque, Musée Hyacinthe Rigaud Perpignan, 1979, p. 109 (artist's proof illustrated) Bertrand Lorquin, Aristide Maillol London, 1995, p. 198 (unknown edition number illustrated) Aristide Maillol exh. cat., Georg-Kolbe-Museum, Berlin, 1997, no. 82, p. 214 (unknown edition number illustrated) Aristide Maillol exh. cat., Palais des Congrès, Perpignan, 2000, p. 119 (terra cotta cast illustrated) and p. 126 (edition 6 of 6 illustrated) Bertrand Lorquin, Aristide Maillol Paris, 2002, p. 104 (unknown edition number illustrated) Catalogue Essay The present lot, Aristide Maillol’s Baigneuse accroupie (Crouching Woman), comes from the esteemed collection of The Museum of Modern Art. Acquired by Louise Reinhardt Smith from Galerie Chalette in 1957, Baigneuse accroupie was exhibited in her home until it came to The Museum of Modern Art as part of her bequest in 1995, where it has remained until the present day. Smith was praised by The New York Times as “a discerning collector of modern art and a prized supporter of The Museum of Modern Art since 1957,” of which she was a Lifetime Trustee. In honor of her patronage and dedication to the Museum, an exhibition of highlights from her collection, including the present lot (Fig. 1), was held in 1995. Smith’s extraordinary collection included works by Georges Braque Edgar Degas André Derain Alberto Giacometti Claude Monet Henry Moore Odilon Redon Auguste Rodin Georges-Pierre Seurat, Edward Steichen Jacques Villon and Maurice de Vlaminck Masterpieces from the Louise Reinhardt Smith collection are regularly on view in the Museum’s galleries, including Henri Matisse’s Landscape at Collioure (1905), Vasily Kandinsky’s Picture with an Archer (1909), and Pablo Picasso’s Bather (1908–09) and Woman Dressing Her Hair (1940). In 1995, Kirk Varnedoe, Chief Curator of the Department of Painting and Sculpture from 1988-2001, wrote of this work: Admired and encouraged by early modern pioneers such as Gauguin and Rodin…The artist's roots lie in the Symbolist context of the 1890s, when his initial devotion to an ideal of the decorative expressed a valuation of hand craft and of art's relation to timeless values that were espoused by socialist movements of the day. The first small nudes he modeled in those years, and refined and enlarged for dis play in the early 1900s, posit a stolid, thick-jointed female anatomy that is the antithesis of the insatiable, anorexic fatal woman often associated with the fin-de-siecle and Art Nouveau. The relation to Gauguin's mannish Tahitian vahines is not coincidental; aside from likely direct influence, these figures (w
PROPERTY FROM THE MUSEUM OF MODERN ART, NEW YORK, SOLD TO BENEFIT THE ACQUISITIONS FUND Aristide Maillol Baigneuse accroupie (Crouching woman) incised with the artist's monogram and numbered "M 3/6" on the base; further stamped with foundry mark "Georges Rudier/Fondeur Paris" on the back of the base bronze 6 3/8 x 9 3/8 x 4 3/4 in. (16.2 x 23.8 x 12.1 cm.) Conceived in 1930 and cast circa 1952, this work is number 3 from an edition of 6 plus 1 artist's proof and is accompanied by a certificate of authenticity. The authenticity of this work has been confirmed by the late Dina Vierny. 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.
Provenance Georges Rudier Fondeur, Paris (circa 1952) Galerie Chalette, New York (acquired by 1957) Louise Reinhardt Smith, New York (acquired directly from the above on January 18, 1957) The Museum of Modern Art, New York (bequest from the above in 1995) Exhibited Tokyo, Musée Isetan, Exposition Maillol au Japon, 1984, S-45 (illustrated) New York, The Museum of Modern Art, Masterworks from the Louise Reinhardt Smith Collection, May 3 – August 22, 1995, pp. 48-49 (illustrated) New York, The Museum of Modern Art, MoMA2000, Modern Starts: People, Language of the Body, October 7, 1999 - February 1, 2000, p. 77 (illustrated) Literature An Exhibition of original pieces of sculpture by Aristide Maillol 1861-1944, exh. cat., Paul Rosenberg and Company, New York, 1958, no. 34, p. 35 (edition 4 of 6 illustrated) Aristide Maillol exh. cat., Der Kunstverein, Hamburg, 1961, no. 73, p. 44 (unknown edition number illustrated) George Waldemar, Aristide Maillol et l âme de la sculpture, Switzerland, 1964, p. 201 (unknown edition number illustrated) Aristide Maillol 1861-1944, exh. cat., Solomon R. Guggenheim Museum, New York, 1975, p. 86 (unknown edition number illustrated) George Waldemar, Aristide Maillol et l’âme de la sculpture, Editions Ides et Calendes, Neuchâtel, 1977, p. 203 (unknown edition number illustrated) Maillol, exh. cat., Palais des Rois de Majorque, Musée Hyacinthe Rigaud Perpignan, 1979, p. 109 (artist's proof illustrated) Bertrand Lorquin, Aristide Maillol London, 1995, p. 198 (unknown edition number illustrated) Aristide Maillol exh. cat., Georg-Kolbe-Museum, Berlin, 1997, no. 82, p. 214 (unknown edition number illustrated) Aristide Maillol exh. cat., Palais des Congrès, Perpignan, 2000, p. 119 (terra cotta cast illustrated) and p. 126 (edition 6 of 6 illustrated) Bertrand Lorquin, Aristide Maillol Paris, 2002, p. 104 (unknown edition number illustrated) Catalogue Essay The present lot, Aristide Maillol’s Baigneuse accroupie (Crouching Woman), comes from the esteemed collection of The Museum of Modern Art. Acquired by Louise Reinhardt Smith from Galerie Chalette in 1957, Baigneuse accroupie was exhibited in her home until it came to The Museum of Modern Art as part of her bequest in 1995, where it has remained until the present day. Smith was praised by The New York Times as “a discerning collector of modern art and a prized supporter of The Museum of Modern Art since 1957,” of which she was a Lifetime Trustee. In honor of her patronage and dedication to the Museum, an exhibition of highlights from her collection, including the present lot (Fig. 1), was held in 1995. Smith’s extraordinary collection included works by Georges Braque Edgar Degas André Derain Alberto Giacometti Claude Monet Henry Moore Odilon Redon Auguste Rodin Georges-Pierre Seurat, Edward Steichen Jacques Villon and Maurice de Vlaminck Masterpieces from the Louise Reinhardt Smith collection are regularly on view in the Museum’s galleries, including Henri Matisse’s Landscape at Collioure (1905), Vasily Kandinsky’s Picture with an Archer (1909), and Pablo Picasso’s Bather (1908–09) and Woman Dressing Her Hair (1940). In 1995, Kirk Varnedoe, Chief Curator of the Department of Painting and Sculpture from 1988-2001, wrote of this work: Admired and encouraged by early modern pioneers such as Gauguin and Rodin…The artist's roots lie in the Symbolist context of the 1890s, when his initial devotion to an ideal of the decorative expressed a valuation of hand craft and of art's relation to timeless values that were espoused by socialist movements of the day. The first small nudes he modeled in those years, and refined and enlarged for dis play in the early 1900s, posit a stolid, thick-jointed female anatomy that is the antithesis of the insatiable, anorexic fatal woman often associated with the fin-de-siecle and Art Nouveau. The relation to Gauguin's mannish Tahitian vahines is not coincidental; aside from likely direct influence, these figures (w
.jpg "Source: Christie's")
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