Raymond Sudre

George F. Harding Collection
George F. Harding Museum, Chicago, 1939
Bequest of George F. Harding, 1982

Overall in fair condition but with two restored diagonal breaks to the shell running from one side to another.
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.

Born in the South East of France, from his earliest childhood Sudre was constantly surrounded by pure white marble blocks, as both his father and brother were marble and stone cutters. Sudre’s talent developed at a very young age which allowed him to enter the prestigious Paris École des Beaus Arts. There he was able to study and learn under masters such as Falguière and Mercié. In 1894, he participated for the first time in the Paris Salon. Six years later, he would win the Grand Prix de Rome in 1900 with his grand combatant Goliath. At the salon of 1902, he presented Helena, a large and imposing sculpture of a seated female figure to the Academy. The following year, the French State would acquire this same piece.  As one of the most prominent sculptors in the first half of the 20^th Century, Sudre was made Chevalier de la Legion d’Honneur in 1914 and Officer de la Legion d’Honneur in 1938. The present model of an elegant nude, viewed from its back and standing on a shell, could be interpreted as a modern rendition of Andromeda.  Here the artist outlines her body with great sensitivity, and his use of marble characterizes a particular intimate exploration of the female form. This model serves as a close comparison to “Jeune Fille au Rocher” by Alfred Boucher. Boucher executed a number of variants of his relief, which he exhibited at the Salon of 1898 and at the Exposition Universelle of 1900. It is certainly possible that Sudre, who was present at the 1900 exhibition, saw this model and drew his inspiration for this work from it.