Alfred Boucher

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, including a slightly dark vein to the proper right shoulder blade. There are a few small chips to the edges of the base, including a larger chip to the front left corner. There is some plaster applied to the back. There is a reddish vein to the side of the bottom.
"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."

Alfred Boucher was the son of a farmhand and worked as a gardener for the sculptor Joseph-Marius Ramus. On discovering Boucher’s natural talent for sculpting, Ramus granted Boucher use of his studio. Boucher in turn would go on to encourage young promising sculptors and acted as mentor to Laure Coutan and Camille Claudel, as well as founding the studio, La Ruche, for young artists.

He entered l’Ecole des Beaux Arts de Paris in 1869, and studied under the artists Paul Dubois, Antoine Dumont and Marius Ramus. He achieved great success when he exhibited his work at the Exposition Universelle, and was awarded the Grand Prix in 1881 and 1900.

Boucher was particularly intrigued by the effect of representing soft skin against rough rock and repeatedly explored variations on this theme, carving his models in three-quarter relief. Most well-known are versions of his models Volubilis and La Philosophie de l’histoire. The present relief, which is much more rare and is a variation on a bronze figure on the monument of Auguste Burdeau at the Père-Lachaise cemetery in Paris, is based on a plaster cast which was first executed just before 1902. 

RELATED LITERATURE
P. Kjellberg, Bronzes of the 19th Century: Dictionary of Sculptors, London, 1994, pp. 118-120; J. Piette, Alfred Boucher, 1850-1934, L'oeuvre sculpté Catalogue Raisonné, Paris, 2014, no. A59A-C