ALBERT-ERNEST CARRIER-BELLEUSE | Vénus désarmant l'amour (Venus disarming Cupid)

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. There is minor veining to the marble, consistent with the material, particularly at Cupid's proper left arm. There are a few minor scratches and abrasions to the marble, including to the back. There is a small chip to Venus' nose. The base is in good condition, with minor abrasions to the edges. The front support may have once had an ormolu element.
"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."

Carrier-Belleuse revived the spirit of Clodion in his terracotta and marble groups with Venus and Cupid and bacchantes, rekindling interest in the Rococo style in the third quarter of the 19th century. The present model is inspired by a composition by Louis-Simon Boizot (1743-1809) for Sèvres, known from a photograph of a biscuit version held in the archives of the Cité de la Céramique, Sèvres (Hargrove, op. cit., p. 126, fig. 43). A terracotta version of the present model was exhibited in the recent exhibition Carrier-Belleuse: Le maïtre de Rodin (op. cit., no. 86). Hargrove and Grandjean date the model to circa 1868 (op. cit.).

Carrier-Belleuse imbues his interpretation of the subject with a playful eroticism that is characteristic of his Belle Epoque sensitivity. Versions of the model in marble are significantly rarer than those in terracotta, and this is a finely executed example.  RELATED LITERATURE
J. Hargrove and G. Grandjean, Carrier-Belleuse. Le maïtre de Rodin, exh. cat. Palais de Compiègne, Paris, 2014, pp. 124-126, no. 86, fig. 43