Mark Matveevich Antokolsky

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There is a small, well-concealed restoration to the woman's proper right thumb. Stable joints are slightly visible at the top of the way sign, where the sections meet. There is a possible minor loss to the leaves at the top of the way sign. There are a few minor chips, notably to the edges at the bottom. There is a small filled naturally occurring inclusion to the woman's proper left foot. There are a few stickers and sticker residue to the bottom at the back, as well as some other minor residues. There is minor oxidation to the gilt metal mounts.
"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."

The Jewish Russian-born Mark Matveevich Antokolsky (1845-1902) was born in Vilnius in present day Lithuania, and attended the Academy of Fine Arts in St Petersburg in 1863.  He emigrated to Paris in 1881, having previously lived for some time in Berlin. Antokolsky was best known for his historical bronze subjects, and a statue of Spinoza is still considered his chef d'oeuvre (op. cit. p. 365). Other historical works include statues of Ivan the Terrible and Peter the Great. 

A plaster version of the present work is in the State Russian Museum (op. cit. no. 48). The present sculpture is probably the only surviving marble of the model. Although the subject of the marble is probably a classical one, such as a Vestal Virgin, the sculpture may also have been symbolic of Antokolsky's own life, as an artist who continuously found himself balancing Russian, Jewish, and European culture, and modern versus classical sculpture (op. cit., p. 130). 

RELATED LITERATURE
The Russian Museum Leningrad: Sculpture, 18th to Early 20th Century, Catalogue, State Russian Museum, St Petersburg, 1988, p. 25; M. Glants, Where is my Home? The Art and Life of the Russian Jewish Sculptor Mark Antokolsky, 1843-1902, Plymouth, 2010