Aimé-Jules Dalou

Sotheby's London, 28 June 2007, lot 147

M. Dreyfous, Dalou: sa vie et son oeuvre, Paris, 1903, p. 193, 204;
S. Lami, Dictionnaire des sculpteurs de l'école française au dix-neuvième siècle, Paris, 1914, vol. 2, p. 10;
W. Joseph, Les portraits sculptés par Jules Dalou (1838-1902), Grenoble, 2004, no. 64, pp. 304-305

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There are a few small naturally occurring inclusions to the marble, including around the proper right eye, at the lower chest, and at the shoulders. There is also some minor natural veining, notably at the bottom of the truncation at the front, and to the separately carved marble socle. There are some surface residues to the lapel on the proper left side and at the top of the proper left shoulder. There are a few chips to the socle, notably one on the left side. There is also a hole to the socle on the left side.
"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."

Dalou exhibited his bust of Henri Lozé at the Salon in 1892, no. 1485.  It is a unique autograph marble in which all the sensitivity and skill of Dalou as marble carver can be fully appreciated. The matte surface of the marble is covered in a skin of fine chisel marks. Individual wayward hairs are picked out in the beard and head of hair. The bulging neck juts out over the tight, formal collar. These delicate details clearly indicate the master's own hand. According to Dreyfous, Lozé was so pleased with the bust that on receipt of it he offered to pay Dalou more than they had previously agreed. 

Dalou exhibited a bronze bust of 'M. L...' in 1891, which may have been this model but the bust of Lozé can only be traced for certain in this marble version, previously believed to be lost, and a patinated plaster in the Petit Palais. The plaster was donated in 1905 by Henri Lozé himself and it may also have been exhibited at the Salon (see Lami, op. cit.).  At the time this bust was carved, Henri Lozé was Prefect of Police in the Seine department, a post he held from 1888 to 1893. He went on to become ambassador of France to Vienna from 1893 to 1897 before entering a political career and retiring as a senator in 1907.

The bust of Henry Lozé can be compared to two other portraits by Dalou which he worked on during the 1890s. The handling of the coat and tie is close to the details on his marble bust of Auzoux (1898-1902) and the animated carving is similar to the work on his marble bust of Jean Gigoux dating from 1900, now in the museum of Besançon.

RELATED LITERATURE
A. Simier, Jules Dalou: Le sculpteur de la République, exh. cat. Petit Palais - Musées des Beaux-Arts de la Ville de Paris, Paris, 2013, p. 329