尤金．魯迪埃，勒韋西內
梅拉醫生，法國（約於1940年購自上述人士）
繼承自上述人士
現有藏家購自上述人士

萊納．瑪利亞．里爾克，《奥古斯特．羅丹》，倫敦，1917年，收錄另一鑄品，圖版3
朱迪斯．克拉代爾，《羅丹：光輝的一生，不為人知的生活》，巴黎，1936年，第142-143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，品號45，收錄另一鑄品，第64-65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，收錄另一鑄品，第95頁
約勒爾．基諾和塞西爾．戈德沙伊德，《羅丹》，巴黎，1967年，收錄另一鑄品，圖版21
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41頁
唐冠科，《奥古斯特．羅丹的雕塑》，費城，1976年，收錄另一鑄品，第142-143頁
阿爾伯特．愛德華．艾爾森，《羅丹再發現》（展覽會圖錄），美國華盛頓區國家畫廊，華盛頓特區，1981年，收錄另一鑄品，第316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，第254頁

This work is in very good condition. Dark brown, black and dark blue patina. Minor surface dirt with general minor wear to patina from handling, 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.

Celle qui fut la belle Heaulmière is a rare work from Rodin's sculptural oeuvre. Seven casts were made of this work during Rodin's lifetime, six of which are in public collections. Four casts were made between 1918 and 1935 by Alexis Rudier, one of which is the present cast. An additional six casts by Ge▨orges Rudier were executed after 1957.

Celle qui fut la belle Heaulmière, conceived in the mid 1880's, is a prime example of Rodin's interest in the human body. Rodin, although equally skilled in depicting physical beauty, did not shy away from challenging subject matter. He spoke at length to Paul Gsell about what he viewed as beautiful in art: "In fact, in Art, only what has character is beautiful. Character is the intense truth of any natural spectacle, whether beautiful or ugly.... And what is regarded as ugly in Nature often shows more character than what is described as beautiful.... And as it is only strength of character that makes beauty in Art, it often happens that the uglier a being is in Nature, the more beautiful he is in Art" (as quoted in Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I, Paris, 2007, p. 255)

The realism and minutely rendered detail of Celle qui fut la belle Heaulmière would prove influential on many artists. "Rodin's work [Celle qui fut la belle Heaulmière] not only fascinated art historians and critics from Gustave Geffroy and Maurice Guillemot to Kenneth Clark, who regarded it as one of the "unforgettable nudes of pity" of the late nineteenth century, but also artists.... It became a reference for countless other sculptors: close friends like Camille Claudel and Constantin Meunier, as well as younger sculptors, including Henry Moore, who remembered having produced the standing figure of an old man in his early career because he had been so impressed by the figure of an old woman by Rodin" (ibid, p. 255)

The present cast of Celle qui fut la belle Heaulmière was patinated by Rodin's celebrated patiniste, Jean-François Limet. Limet's talents were unparalleled and he was known for exceptionally high standards in every detail of🌃 the casts he finished. At times he even reworked foundry imperfections himself. Rodin used Limet almost exclusively from 1890 on꧙, relying on him to give his bronzes their uniquely brilliant patinas.