羅丹美術館，巴黎
雷昂斯．本尼迪 ，巴黎
黑木三次男爵，東京，日本 (1922年購自上述人士)
拍賣：紐約蘇富比，2000年5月11日，拍品編號105
現有藏家購自上述拍賣會

卡米爾．莫克莱爾，《奥古斯特．羅丹：其人－其概念－其作品》，倫敦，1905年，收錄另一鑄品，第28頁
萊納．瑪利亞．里爾克，《奥古斯特．羅丹》，倫敦，1917年，收錄大理石版本，圖版7
喬治．格拉佩，《羅丹美術館圖錄》，巴黎，1927年，收錄大理石版本，品號77
沙莫維．斯托里，《羅丹》，紐約，1939年，品號43-45，收錄大理石版本，第145頁
阿爾伯特．愛德華．艾爾森，《羅丹》(展覽會圖錄)，大都會美術博物館，紐約，1963年，收錄大理石版本，第132頁
羅伯特．德沙爾納和尚-弗朗索瓦．夏布朗，《奥古斯特‧羅丹》，洛桑，1967年，收錄大理石版本，第83頁
約勒爾．基諾和塞西爾．戈德沙伊德，《羅丹》，巴黎，1967年，收錄大理石版本，圖版28
塞西爾．戈德沙伊德，《羅丹》(展覽會圖錄)，海沃美術館，倫敦，1970年，收錄另一鑄品，第38頁
唐冠科，《奥古斯特．羅丹的雕塑》，費城，1976年，品號35，收錄大理石版本，第255頁
安托瓦内特．諾曼德-羅曼，《羅丹的銅雕，羅丹美術館圖錄》，第I冊，巴黎，2007年，收錄另一鑄品及大理石版本，第292-294頁

This work is in very good condition. Rich brown and green patina. General wear to the patina consistent with age and handling.
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.

Rodin's Danaïde exemplifies the dramatic beauty of the female form. The sculpture portrays a scene from the Greek legend of Danoas, king of Argos, whose fifty daughters were condemned for eternity to fill a bottomless vessel with water as punishment for executing their husbands. For this sculpture, Rodin renders one of the women at the moment she falls to the ground, breaking her water vessel in absolute despair. In her analysis of Danaïde, Mary L. Levkoff has written the following: "It is not hard to imagine the tears wept in frustration by Rodin's Danaïde streaming away with the flood that leaks from her broken vessel, washing her hair, with its watery lines, down over the margin of the sculpture. She is so heavily weighted by her task and engulfed by despair that she is clearly incapable of escaping her fate. Her body, one of the sculpture's most beautifully stylized anatomies, is bound painfully to the shape of the rock. The composition is among Rodin's finest achievements in the resolution of physiological distortion and material coherence" (M. L. Levkoff, Rodin in his Time: The Cantor Gifts to the Los Angeles County Museum of Art, Los Angeles, 1994, p. 115).

Rodin originally intended to feature this sculpture as a part of his Porte de l'Enfer. In 1889, he created a large marble version, now in the collection of the Helsinki Ateneum Art Museum, which he intended for the casting of his bronzes. As Rilke describes, "At this time, perhaps, Danaïde was created, a figure that has thrown itself from a kneeling position down into a wealth of flowing hair. It is wonderful to walk slowly about this marble, to follow the long line that curves about the richly unfolded roundness of the back to the face that loses itself in the stone as though in a great weeping, and to the hand which like a broken flower speaks softly once more of life that lies deep under the eternal ice of the block" (R. M. Rilke, Rodin, London, 1946, p. 34).