Attributed to Marie-Anne Collot, 1748-1821

The bronze would benefit from being tightened. Otherwise in apparent good condition.
"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."

Étienne Maurice Falconet's statue of Peter the Great is not only one of St. Petersburg's most striking landmarks, but has over the years obtained an iconic status.  Immortalised by Pushkin in his epic poem, The Bronze Horseman, it symbolises the might of Russia and the ability of Peter the Great to build a glittering capital city in the most inhospitable terrain. The monument is erected on a piece of rock weighing around 1,800 metric tonnes and the transportation from the Karelian Forest to St Petersburg via the Gulf of Finland took place at a rate of approximately a mile a month. This great St. Petersburg landmark has many legends associated with it; however one of the more intriguing and lesser known facts is that the Emperor's head was formed by the hand of a young female sculptress and student of Falconet, Marie-Anne Collot. 

Étienne Maurice Falconet was one of France's most prominent rococo sculptors; he came to public attention in the Salons of 1755 and 1757 and was patronised by Madame de Pompadour. At the time he was director of the sculpture atelier the Sèvres Porcelain Manufactory, and typically worked on small sculptural figurines and table garnitures.  The colossal monument to Peter the Great cast in bronze was quite a departure for the sculptor.  He wrote to the philosopher Denis Diderot in response to his commission: "My monument shall be simple.  Peter the great himself is both subject and attribute: it remains only to demonstrate this."

Nonetheless, this was a task Falconet was unable to fulfil.  He submitted several designs for the Emperor's head to Catherine II and Ivan Betskoi who was in charge of the project, all were rejected.  In 1772, at the suggestion of Catherine II, Falconet passed the project to his student, Marie-Anne Collot, whose works were already favoured by the Empress.

In 1763 Collot entered the studio of Falconet at the age of fifteen.  One of the first women to sculpt in France pre 1800 she became something of a novelty in artistic circles.  Her work was particularly praised by Denis Diderot and the Russian Empress's agent Prince Dmitry Golitsyn who recommended the artist to Catherine II. Falconet was uncommonly proud of the work of his student and persuaded her to join him in St. Petersburg in 1766. In advance of her arrival to Russia, Golitsyn wrote to the minister of Foreign Affairs, Count Panin: "she is like a prodigy in her talent and her behaviour, the vast number of portraits which I have seen her make here are perfect and she cannot fail to be useful in our country."

In 1767, Collot arrived in Russia and was swiftly accepted into the Imperial Academy of Arts.  Her busts were exhibited in the galleries and she soon established a reputation and an impressive clientele.  Two successful portrait busts of Catherine II guaranteed her success in the capital and she secured a regular salary from the Imperial Court. Marie-Anne Collot was particularly rewarded by the Empress as she exhibited busts by the artist of Diderot, Falconet and others in the Hermitage Gallery at a time when it was not intended to display sculpture.

At the time when Collot was drafted to complete the head of Peter the Great she had already been involved with helping Falconet with the construction of the monument. In his own words Falconet admits that Collot had allowed him to overcome "a chasm of stupidities". Collot worked on the bust for more than a year, producing a small sketch and larger model of the Emperor's head.  She used a death mask of Peter the Great to aid in capturing his likeness.  Falconet was one of the first to praise the finished work.

The offered lot dates to the late 18^th century and it is believed to be by the hand of Marie-Anne Collot, formed as a study for the Tsar's head, or produced as a souvenir shortly after the monument was formed.  It is very unusual to find Russian bronzes of this quality from this period.   Lot 606 is a later copy of the completed statue by Étienne Maurice Falconet and Marie-Anne Collot.