French, circa 1830

in oak frames

Overall the condition of the reliefs is very good with some minor wear to the surface consistent with age including some minor surface chips. The relief of with Alexander is loose from its frame.
"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."

Scholars of the Ecole des Beaux Arts in Paris were regularly given subjects to prove their compositional skills in a Concours de composition historique. Nevertheless, as far as we know, the subject of Andromache's grief beneath the ramparts of Troy was never set as a competition subject at the Academy.

In 1809 and 1838, the second subject depicting Alexandre le Grand buvant avec calme devant son medecin Philippe le breuvage qu'on lui disait empoisonné was given for the competition of the Grand Prix de Rome in 1809 and 1838. Amongst the students participating in 1838 were Théodore Charles Gruyère (1814-1885), J. P. Mouline (1813-1842), J.C. Petit and Nicolas Victor Vilain (1818-1899). Furthermore, the sculptor André-Joseph Allard (1845-1926) won in 1869 the Prix de Rome for Sculpture with his monumental plaster relief depicting Alexandre le Grand buvant, tandis que son médecin Philippe lit la lettre de Parménion (120 cm x 150 cm) (ENSBA , inv. no. PRS 58). The present terracotta sketch shows analogies with Allard's relief and could well be a model or a variant for his final composition in which the group of figures set into a sober background appears simplified and sketched. André-Joseph Allard was a pupil of  Dantant l'Ainé, Cavelier and Eugène Guillaume.

RELATED LITERATURE:
E. Schwartz, Les Sculptures de l'Ecole des Beaux Arts de Paris, Histoire, doctrines, catalogue, Paris, 2003, p. 164; F. Chappey, 'L'esquisse à l'école des Beaux Arts: la création des concours de composition en 1816', Revue de l'Art, 104, 1994, p. 9- 14