A. M. Adler Fine Arts, Inc., New York
Acquired from the above in 1980 

New York, Solomon R. Guggenheim Museum, Maillol Retrospective, 1975, no. 68, illustrated p. 74
Tokyo, Mitsukoshi Gallery, Maillol, 1975 

Waldemar George, Aristide Maillol et l'âme de la sculpture, Neuchâtel, 1977, illustrationꦬ of another cast p. 246

very good condition; a few slight scuffs (back of hair, belly button, arm & thigh)
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.

The current work depicts Flore, the goddess of Spring. Maillol created this in relation to a quartet of female figures representing the four seasons; Flore was accompanied by Pomone, Printemps, and L'Eté. In this depiction of Flore, the subject faces forward, gazing directly at the viewer with her arms poised delicately at her sides. In other instances, the artist depicts the goddess with a symbol of Spring such🌄 as fruit or flowers, but here Maillol emphasizes the purity of the female form.𝕴

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 body was characterized by gentle swells and powerful stature. The cur💃rent piece, conceived in 1907, is a superior example of the artist's understanding of the female form.