Edward Onslow Ford

Overall the condition of the bronze is good, with minor dirt and wear to the surface consistent with age, with dust throughout. There is some dryness to the patina in areas, notably the lower arms and hands. There is some greening, in particular between the legs. There are some light scratches, notably at the back and the neck. There is minor dark spotting in a few areas, including to the abdomen and thighs. There are very minor chips to the 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."

The British born sculptor began his career as a painter at the Koninklijke Academie voor Schone Kunsten, Antwerp, before attending the Akademie der Bildenden Künste, Munich, where his professor encouraged Ford to take up sculpture.

Upon his return to London in 1874, Ford built up a successful practice initially based on portraiture, exhibiting at the Royal Academy from 1875 and at the Grosvenor Gallery from 1879.

From 1886 Ford modelled a series of bronze statuettes in which he endeavoured to embody playfulness, the most successful of which was the present work; it was modelled using the lost-wax process, the malleability of which allowed the artist to achieve a strikingly realistic portrait of the subject, particularly noticeable in the textured modelling of her hair. This model is also in the Tate Gallery (no. NO1758).