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Aristide Maillol (French, 1861–1944)
LOT ID: 83492
Junon, 1925

12.5 х 17 in. (31.75 x 43.18 cm.)
Signed, plate signed, signed twice: hand signed by the artist; also plate signed (monogrammed) in the stone.
Print/Casting Year 1925
Edition 35
Lot description
Aristide Maillol is one of the legendary European masters who exhibited at the famous Armory Show of 1913 that took New York, and the world by storm. He is often called the "Cézanne of sculpture", as he - like Cézanne - paved the way to abstraction.

Indeed, Maillol is one of the most influential sculptors of the 20th Century, but he was also a distinguished print maker who produced important graphic works - drawings, lithographs and woodcuts. Indeed, as part of the exhibition "Les maîtres de l'art indépendant", which was shown at the Petit Palais parallel to the World Exhibition, three rooms were reserved exclusively for Maillol's works on paper.

This marvelous vintage lithograph on Arches, created about a decade after the Armory show, is a Trial Proof, aside from the regular edition of 35 and it exhibits Maillol's deep understanding of the human figure.

It has superb provenance, as it came from the collection of renowned art dealer Anna Sosenko, who was also a famous theatrical impresario and gallerist in her day. On the back of the frame, she has attached a personal hand written guarantee on a card that she has hand signed, stating that the artist has hand initialed the work outside of the plate and that it is guaranteed to have been printed from the stone personally by the artist. The verso of the frame also bears Ms. Sosenko's Art Gallery label. Offered in the original frame with labels for provenance.

This historic print is fully referenced in the catalogue raisonne of Aristide Maillol's works on paper. (Cat. Rais. 274, Guerin.)

There is light foxing around throughout white area of the sheet, but not affecting the image. This light foxing is not obtrusive, but it can easily be fixed by a restorer.

Aristide Maillol studied at the École des Beaux-Arts in Paris and at the Académie from 1882 to 1886. He was greatly influenced by his contemporaries Pierre Puvis de Chavannes and Paul Gauguin, and in 1893 Gauguin suggested him to join the artist group "Nabis". Around the turn of the century the Nabis developed an anti-naturalist, symbolist pictorial language with two-dimensionally-decorative, simplified color shapes and black contours, which would influence Maillol's early paintings and tapestry designs. Maillol opened a tapestry workshop in Banyuls, producing works whose high technical and aesthetic quality gained him recognition for renewing this art form in France. He began making small terracotta sculptures in 1895, and within a few years his concentration on sculpture led to the abandonment of his work in tapestry. The subject of nearly all of Maillol's mature work is the female body, treated with a classical emphasis on stable forms. The figurative style of his large bronzes is perceived as an important precursor to the greater simplifications of Henry Moore, and his serene classicism set a standard for European (and American) figure sculpture until the end of World War II. large collection of Maillol's work is maintained at the Musée Maillol in Paris, which was established by Dina Vierny, Maillol's model and platonic companion during the last 10 years of his life. His home a few kilometers outside Banyuls, also the site of his final resting place, has been turned into a museum where a number of his works and sketches are displayed.

Three of his bronzes grace the grand staircase of the Metropolitan Opera House in New York City: Summer (1910–11), Venus Without Arms (1920), and Kneeling Woman: Monument to Debussy (1950–55). The third is the artist's only reference to music, created for a monument at Saint-Germain-en-Laye, Claude Debussy's birthplace.
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Junon by Aristide Maillol
  • Junon by Aristide Maillol
  • Junon by Aristide Maillol
  • Junon by Aristide Maillol
  • Junon by Aristide Maillol
  • Junon by Aristide Maillol
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