Albert-Ernest Carrier-Belleuse

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There is veining to the marble consistent with the material. There are also a few naturally occurring inclusions to the marble. There are some scuff marks to the hair of the figures. The projecting finial of the lyre has been reattached. There is a little bit of paint restoration to the front left and back right corners. There are few scratches, abrasions and small chips to the grey marble 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Albert-Ernest Carrier-Belleuse was one of the most important and innovative sculptors of nineteenth-century France. During his long career at the Paris Salon and beyond, Carrier-Belleuse was responsible for important public monuments, as well as creating decorative sculpture for a diverse clientele. His terracotta models, many of which depict playful mythological subjects, were reproduced widely. Carrier-Belleuse’s prolific workshop became an important training ground for younger sculptors, notably Auguste Rodin, who acted as the master’s assistant between 1864 and 1870.

RELATED LITERATURE
J. Hargrove and G. Grandjean, Carrier-Belleuse. Le maître de Rodin, exh. cat., Palais de Compiègne, Paris, 2014