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Phillips is delighted to offer Property from an Important Private Japanese Collection, comprising seven sculptures by Auguste Rodin, Antoine Bourdelle, and Henry Moore. Acquired from the Contemporary Sculpture Center, Japan the present works have resided in the same private collection for over forty years.
Rodin redefined monumental sculpture towards the end of the 19th century, creating a new sculptural language which inspired not only his contemporaries and students but the future generation alike. The forerunner to modern sculpture, Rodin was interested in exploring and capturing individual and very human characteristics in his mythological and allegorical subject matters—such is the case in the biblical imagery he employed in Étude pour Adam au pilier and Étude pour Eve au pilier. The anxiety about the human state and individual experience so characteristic of his approach is poignantly apparent in his Cariatide à l’Urne, taille originale dite aussi petit modèle and Main crispée gauche avec figure implorante, the contorted forms of which accentuate movement and dynamism.
At the start of his career, Antoine Bourdelle shared Rodin’s interest in infusing realism with mythical and archetypal figures, while still foregrounding individual expressionism. Between 1893 and 1908 he was a pupil and assistant at the studio of Rodin, who was a great admirer of his student’s innovative monumental sculpture. Cheval avec grand soubassement, étude pour le Monument au général Alvear is the perfect example of the rough surfaces of Bourdelle's sculptures which were influenced by Rodin, and his use of flat, simplified forms which were drawn from archaic Greek and Roman antiquity.
Moore’s Working Model for Animal Form echoes the work of both Rodin and Bourdelle: while the British sculptor’s exploration of the emotional interiority of humanity—both in relationships with others and isolated—shares an affinity with Rodin’s central concerns, Moore’s interest in antiquity and Greek mythology evokes that of Bourdelle. Working Model for Animal Form is rhythmic, dynamic, and betrays a profound understanding of the human state—characteristics that are so focal to his predecessors’ oeuvres.
"[I realize] that a lot of things one might be using and being influenced by are, compared with Rodin, altogether too easy. So that as time has gone on, my admiration for Rodin has grown and grown."
—Henry MooreThe French modernists’ influence on both post-war art as well as the work of contemporary artists working today cannot be overstated. The raw physicality of the bronzes of other artists included in our Evening and Day Sales, such Louise Bourgeois and Willem de Kooning—with all their psychological and emotion connotations—are indebted to Rodin’s approach. Even more conspicuously, Bourdelle’s chevaux anticipated Deborah Butterfield’s steel and bronze horses and Kehinde Wiley’s Rumors of War. From Jeff Koons’s Gazing Ball (Demeter) to Lynn Chadwick’s bronze couples to Jim Dine’s mythological figures, 20th and 21st century artists have looked to Rodin and Bourdelle for both subject matter and execution style. Even Vase Saigon “Les Limbes et les Syrènes” foreshadows post-war artists’ exploration in the design realm, such as Keith Haring’s Writing Table and Frank Gehry’s Fish Lamp. Whether they were reinforcing his influence or responding to it, in their own way, each of these artists continued the legacy of Rodin in redefining the modern language for sculpture.![[left] Lot 348, Kehinde Wiley, Rumors of War, 2019. [right] Lot 134, Willem de Kooning, Untitled #4, 1969.](https://phillips.vo.llnwd.net/v1/web_dev/lot-component/Combine_798f480e-ed6e-4be3-b16a-1a10f5657b2e.png)
[left] Lot 348, Kehinde Wiley, Rumors of War, 2019. [right] Lot 134, Willem de Kooning, Untitled #4, 1969. Lost Wax Bronze Casting
Conceived and executed between 1895 and 1979, the Rodins and Bourdelle in this superb grouping celebrate the technique and merit of bronze lost wax casting, successfully reexamining the importance of posthumous casting and the preservation of the artists’ legacy.
The view some may associate with posthumous casts is conditioned by a specific historical ideology that dates to the 19th and 20th centuries that prioritized notions of “originality” and “authenticity.” This is based on a misunderstanding of the process of creating a bronze sculpture, which entails the creation of a model that needs to be copied and cast, a process which the artist did not always oversee as closely as many imagine. Rodin was one of the first who took a forward-thinking approach to the “original” and the value of multiples that would go on to inform many outstanding artists of the 20th century. These later casts should be viewed together with sculpture that was being made during the last 70 years to illustrate the enduring influence and relevance of Rodin’s approach not only to the human form but to the way we perceive art today. As attitudes change, some artists have recently seen an increase in prices for posthumous works, because as these artists remind us: what really counts is the mind, not the hand.
來源
巴黎羅丹博物館館藏
東京當代雕塑中心（1978年6月購自上述來源）
現藏者購自上述來源過往展覽
Takaoka City Museum; Fukui Prefectural Museum; Tokyo, Setbu Museum; Yamanashi Prefectural Museum, Asahikawa City Cultural Center; Iwaki City Cultural Center; Nagasaki, Juhachi Bank Special Museum, Exposition Rodin au Japon, April 27–November 11, 1979, no. 8, n.p. (illustrated)
文學
Ionel Jianou and Cécile Goldscheider, Rodin, Paris, 1967, pl. 29, p. 88 (titled as Caryatid with Urn)
Athena Tacha Spear, Rodin Sculpture in the Cleveland Museum of Art, Cleveland, 1967, p. 99 (titled as Caryatid Carrying an Urn)
John L. Tancock, The Sculpture of Auguste Rodin: The Collection of the Rodin Museum, Philadelphia, 1976, p. 41 (titled as The Fallen Caryatid Carrying an Urn)
Jacques de Caso and Patricia B. Sanders, Rodin’s Sculpture: A Critical Study of the Spreckels Collection, exh. cat, California Palace of the Legion of Honor, San Francisco, 1977, no. 23, pp. 155–156 (another example illustrated, pp. 154, 157; titled as Fallen Caryatid Carrying an Urn)
Mary L. Levkoff, Rodin in His Time: The Cantor Gifts to the Los Angeles County Museum of Art, Los Angeles, 1994, no. 17, p. 73 (another cast illustrated, pp. 72, 74–75; titled as The Fallen Caryatid with Urn)
Albert E. Elsen, Rodin’s Art: The Rodin Collection of the Iris and B. Gerald Center for Visual Arts at Stanford University, New York, 2003, no. 57, fig. 179, pp. 229, 231 (another example illustrated; titled Fallen Caryatid with an Urn (La Cariatide tombée a l'urne))
Antoinette Le Normand-Romain, The Bronzes of Rodin: Catalogue of Works in the Musée Rodin, vol. 1, Paris, 2007, pp. 246–249 (larger bronze version illustrated, p. 247; titled as Fallen Caryatid with Urn or with Vase)
重要日本私人收藏
Ο194
《骨灰盒與女像柱，原始尺寸也稱為小模型》
款識：A. Rodin N° 12（底部右上方邊緣）E. GODARD Fondr 鑄造廠（後邊緣）© BY MUSEE RODIN 1977（底部左上方邊緣）MCVIO N° 2（後平邊緣）
深棕色銅雕
16 1/8 x 11 3/4 x 10 1/4 英吋 (41 x 29.8 x 26 公分)
約1881–1882年構思，1977年2月鑄，共有約13版於1925-1977年期間為巴黎羅丹博物館而製，其中3版在 Émile Godard 鑄造廠於1973-1977年期間鑄。此作將被納入由 Brame & Lorenceau 畫廊籌備及由 Jérôme Le Blay編纂的《奧古斯特．羅丹雕塑作品重要目錄》，編號2021-6360B。
估價
$150,000 - 200,000
John McCord
日間拍賣主管（上午部分）
紐約
+1 212 940 1261
20th Century & Contemporary Art Day Sale, Morning Session
紐約拍賣2021年6月24日
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