Auguste Rodin (1840-1917)
Auguste Rodin (1840-1917)

Eternel printemps, second état 4ème réduction

Auguste Rodin (1840-1917)
Eternel printemps, second état 4ème réduction
signed 'Rodin' (on the right side); inscribed with foundry mark 'F. BARBEDIENNE. Fondeur.' (on the left side of the base)
bronze with dark brown patina
Height: 9¾ in. (24.8 cm.)
Conceived in 1884; this bronze version cast circa 1910-1915
Private collection, Paris.
Acquired by the present owner, 2006.
G. Grappe, Catalogue du Musée Rodin, Paris, 1927, p. 42, no. 69 (another cast illustrated).
R. Descharnes and J.-F. Chabrun, Auguste Rodin, Lausanne, 1967, p. 134 (another version illustrated).
I. Jianou and C. Goldscheider, Rodin, Paris, 1967, p. 96.
J.L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, pp. 241-247, no. 32b (another cast illustrated).
A.E. Elsen, Rodin Rediscovered, Washington D.C., 1981, p. 68 (larger clay version illustrated, fig. 313).
A.E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, New York, 2003, pp. 494-497, no. 148 (another cast illustrated, pp. 494-495).
A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Paris, 2007, vol. I, no. S. 777, p. 334 (another cast illustrated).

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David Kleiweg de Zwaan
David Kleiweg de Zwaan

Lot Essay

This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay under the archive number 2006V871B.

The commission for La porte d'Enfer gave Rodin the opportunity to experiment extensively with figure compositions, singly and in groups, which he could model on a smaller scale than his earlier sculptures, and further refine his means of expression. A common theme among these sculptures is human love, expressed not in the tired allegorical conventions of the period, but in more novel, passionate and intimately human terms.

Rodin developed the figures in Eternel printemps from earlier models. The figure of the woman is derived from Torse d'Adèle, which appears on the left corner of the tympanum of La porte d'Enfer. The lovers were originally known as Zéphyr et la Terre and were exhibited in the Paris Salon of 1898 as Cupidon et Psché (there are vestiges of small Cupid's wings on the back of the man).

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