拍品 63
  • 63

JULES DESBOIS | Sleeping Nymph

估價
25,000 - 35,000 GBP
招標截止

描述

  • Jules Desbois
  • Sleeping Nymph
  • signed: J.Desbois.
  • white marble
  • 33 by 45 cm., 13 by 17 3/4 in.

Condition

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There is a minor restoration to the big toe of the proper left foot. There are a few very small chips and abrasions.
"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."

拍品資料及來源

Desbois was a collaborator and follower of Rodin, and his work is associated with both Art Nouveau and the virtuoso sculptural method of carving en taille directe (free carving, without a model). A student at the Ecole Nationale des Beaux Arts in 1873, Desbois worked in Pierre Cavelier's studio. After a two year stay in New York, where he worked with John Quincy Adams, he returned to Paris and made his debut at the Salon with a bust of Orpheus.

Three years later he met Rodin in Carrier-Belleuse's studio and they worked together as practitioners in Eugene Legrain's atelier. Desbois came under the older sculptor's dominating influence, a relationship which developed into a long-standing collaboration and mutual admiration; Butler describes him as 'the pillar of Rodin's atelier.' His style increasingly moved towards a much greater realism, sculpting in marble en taille directe, as well as working in ivory and wood. However his work is also deeply personal, lyrical and sensual. Compare the cmposition of the present lot to Desbois' La Dryade (op. cit. plates between pages 32-33) and Le Baiser (op. cit. cat. no. 29).  RELATED LITERATURE
R. Huard and P. Maillot, Jules Desbois 1851-1935. Une céelébration tragique de la vie, Paris, 2000