Albert-Ernest Carrier-Belleuse

Private collection, East Sussex, until 2015

Overall, the condition of the terracotta is very good, with minor dirt and wear to the surface consistent with age. There is a whitish hue to the terracotta in areas. There are a few specks of white dirt to the chest on the proper left side and some further slight dirt marks, including to the proper right breast above the truncation, to the forehead, and to the proper left shoulder at the back. There are some white marks to the braid of hair at the back below the neck. There are a few very minor chips to some high points including to the flowers in the hair. There is a small hole to the top of the head. There is some minor wear to the wood socle, including some minor chips and some stable splitting, consistent with the material.
"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."

Albert-Ernest Carrier-Belleuse was one of the most important and innovative sculptors of 19^th-century France. During his long career, Carrier-Belleuse was responsible for important public monuments, as well as creating decorative sculpture for a diverse clientele. One of his major contributions to sculpture is the introduction of 19^th-century technology in his workshop to efficiently reproduce his models for an eager market. This way his terracotta and marble models, many of which represent playful mythological subjects and beautiful women, could be dispersed widely. Carrier-Belleuse’s prolific workshop also became an important training ground for younger sculptors, notably Auguste Rodin, who acted as the master’s assistant between 1864 and 1870.

This fine bust of a girl with exquisitely dressed hair seems to be unique in Carrier-Belleuse’s oeuvre. The flowers in her hair suggest that she is a personification of Spring. Her prominent long braids and locket, on the other hand, may identify her as a literary character. Carrier-Belleuse changed his signature from A CARRIER to A CARRIER BELLEUSE around 1968 to distinguish himself from the painter August Carrier. The Bust of a girl is therefore an early work.

RELATED LITERATURE J. Hargrove and G. Grandjean, Carrier-Belleuse. Le maître de Rodin, exh. cat. Palais de Compiègne, Paris, 2014