Mme Léon Bertaux, née Héléna Hébert

signed Mme Léon Bertaux with the E. TASSEL Ed. stamp and inscribed to the front Elle est la sous la feuillée / Eveillée / Au moindre bruit de Malheur / Et rouge pour une mouche / Qui la touche / Comme une grenade en fleur. 

Lami, vol. 1, p. 110

A. Easterday, "Working the System: Hélène Bertaux and Second Empire Patronage," PART, 6, New York, 2000

Overall in good original condition with the usual wear to patina in places, especially to the top of head, arms and legs consistent with handling and touching. Light scratches and dents consistent with age.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"I visited the picture galleries once more, and was struck by the fact that several women had been admitted to places of honor. This was especially noticeable in the Luxembourg Sculpture Gallery, where two women, Mme. Bertaux and the late Claude Vignon, were both represented by good work - the first and only women sculptors admitted to that gallery."  When Elizabeth Cady Stanton, one of the 19th century's most vocal champions of female suffrage, recalled this 1887 visit, Hélène Bertaux, almost completely unknown today, had already established herself as one of the leading female sculptors of her day and enjoyed close links with the Imperial household and Count Émilien de Nieuwerkerke. She founded the Union of Women Painters, Sculptors and Engravers in 1881 and established the first sculpture school for women, lobbying the École des Beaux-Arts to accept them. She later became the only woman to be elected to the Salon jury.

The present bronze reduction of the marble Jeune fille au bain relates to an important state commission, constituting one of her major successes. It was exhibited at the 1876 Salon and the Paris 1878 Exposition Universelle, and contributed to her winning a gold medal when a bronze version was shown at the 1889 Exposition Universelle together with her Psyché. It is inspired by a verse from Victor Hugo's Sara la baigneuse (Les Orientales, V/XIX, 1829), which translates as: "See her 'neath the leafage vert, / Lurk, alert / Should the slightest mischief lower, / Rosy (for a cruel fly / Stings her), ay / As a pomegranate in flower."