After a model by Christophe-Gabriel Allegrain (1710-1795) French, 19th century

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There is some very light surface dirt, giving the marble an attractive patina. There are some small specks of residue to the hair and to the upper back. There are a few very minor chips, notably to the bottom edge of the 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."

Christophe-Gabriel Allegrain (1710 - 1795) was a French sculptor who tempered the neoclassical style with Rococo charm and softness. Allegrain was born into a well-established family of landscape painters in Paris. This is a copy of his single most famous work, the Bather (La Baigneuse), which was commissioned for the Royal residence through the Batiments du Roi in1755. A modelled sketch was shown at the Salon of 1757 and when the finished marble was finally exhibited at the Salon of 1767 it received a sensational reception. In 1772 Louis XV presented it to Madame du Barry for her Château de Louveciennes, where she had recently completed the famed pavilion that introduced the neoclassical style to France, which would become the hallmark of the "Louis XVI style". 

RELATED LITERATURE
Les Sculptures Europeennes du Musee du Louvre: Moyen Age, Renaissance et Temps Modernes, Paris, 2006, p. 21