Lot 89
  • 89

Louis-Ernest Barrias

Estimate
30,000 - 50,000 GBP
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Description

  • Louis-Ernest Barrias
  • La Nature se dévoilant devant la science (Nature revealing herself to Science)
  • signed: EBarrias and inscribed: Susse FresEdtr
  • partially tinted white marble, bronze, silvered and gilt patina, set with a blue stone, on a mottled grey marble base

Condition

Overall the condition of the sculpture is very good with minor dirt and wear to the surface consistent with age. There is minor dirt to the white marble sections. There are a few small naturally occurring inclusions to the white marble sections. There is particular wear to the silvered bronze areas, including what appears to be oxidation to the high points, this is particularly the case at the front of the drapery. There is minor wear to the high points of the gilt bronze areas, and some dark spotting. There are a few small chips to the terrasse.
"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."

Catalogue Note

Barrias exhibited the model of La Nature in white marble at the salon of 1893. This first version was entirely nude apart from the veil which hung over her head and fell to her feet at her back. Suitably, given its title, the marble was purchased by the Medical Faculty of Bordeaux. Barrias exhibited the model again in 1899 partly clothed, like the present model, and fashioned out of coloured stones, fitting into the vogue for chryselephantine sculpture. The contemporary allegory of the title reflects its modernity and thinly disguises the essence of the composition: a beautiful woman undressing.

RELATED LITERATURE
P. Fusco and H. Janson, The Romantics to Rodin, exh. cat. Los Angeles County Museum, Los Angeles, 1980, pp. 118-120, no. 10