Albert-Ernest Carrier-Belleuse

Overall in good condition with the usual minor scratches and wear consistent with age and use. Raised on a later pedestal. Very good presentation with some patina retouched to brown and gilt in places. Scratches around base.
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.

Dr. Anita Brookner called him a "manipulator of styles," an epithet addressing Carrier-Belleuse's versatility and fearless experimentation in the fine and decorative arts. Indeed, Carrier-Belleuse thrived during the second half of the 19th century, a time in which sculpture became more multifaceted and less dependent on an established, singular style. Whether he produced portrait busts, public moments, sculpture or decorative wares and designs, his art engendered unequivocal praise from his contemporaries. Carrier-Belleuse exhibited at the Paris Salon beginning in 1857, the acknowledged official art sanctum which ensured future stability, public recognition and desired patronage. His business acumen and self-promotion were prophetic, and he carved his public image as boldly as his sculpture, becoming one of the most popular figures of his time.

Notably the 1871 terracotta group of the present model of L'Innocence Tourmentée par les Amours was created by Carrier-Belleuse in close collaboration with the celebrated French sculptor Auguste Rodin, who was a pupil of Carrier-Belleuse at the Sevres factory.  The terracotta group is now in the permanent collection of the Carnegie Museum of Art acquired in 2001 through the Heinz Family Fund (see Antiques and the Arts Weekly, January 10, 2003).