Marlborough Gallery, New York
Acquired from the above in 2005

New York, Marlborough Gallery, Inc., Maillol and America, 2004, no. 18, illustrated in color in the catalogue

Aristide Maillol (exhibition catalogue), Palais des Congrès, Perpignan, 2000, illustration of another cast p. 94
Aristide Maillol (exhibition catalogue), Institut Valencia d'Art Modern, Valencia, 2002, illustration of another cast p. 88

This work is in very good condition. The work features a mottled dark green and emerald-green patina. There are a couple minor spots of rubbing, including on the figure's left breast and to the base, just after the inscription. 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.

Like his contemporary Henri Matisse, Maillol believed that the natural contours and essential beauty of the feminine form were best communicated through the use of simple, elegant line. According to John Rewald, "To celebrate the human body, particularly the feminine body, seems to have been Maillol's only aim. He did this in a style from which all grandiloquence is absent, a style almost earthbound and grave, where static poses and contained gestures convey an impression of gravity and stability" (John Rewald, Aristide Maillol (exhibition catalogue), New York, 1958-60, pp. 6-7).

Maillol received inspiration from the art of many cultures, including the sculpture of ancient Egypt, the Hindu carvings of India and the white marbles of classical Greece. According to the artist himself, "In Greek art, there is nothing more beautiful than the Vénus de Milo" (quoted in Aristide Maillol (exhibition catalogue), Albright-Knox Art Gallery, Buffalo, 1945, p. 22). For Maillol, the Vénus de Milo reflected an inherent serenity independent of emotional i✤mplꦐications or overt narrative. Although he rejected naturalism in art, he admired the refined contours that revealed the sensuality and quiet grace of pure form.