Gustave-Joseph Chéret

Overall the condition of the bronze is very good. The patina is in excellent condition. The shape of the orb is slightly distorted. The bronze was originally cast in several sections, some of the joints and pins are visible, for example to the sections above her head. The base is made of marble sections, some of which are visble, but is otherwise in 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."

Gustave-Joseph Chéret studied sculpture under the great nineteenth-century master Albert-Ernest Carrier-Belleuse. Chéret joined the master's atelier and married Carrier-Belleuse's daughter, Marie. As an accomplished creator of decorative arts as well as sculpture he was perfectly placed to succeed his father-in-law as artistic director of the Sèvres factory after Carrier-Belleuse died in 1887.

This impressive bronze is also known as Day, and the model was exhibited as a pendant to Chéret's Night at the Salon on 1883. The girl is awakening amidst a cluster of cupids teasing her with memories of her dreams. The delicate gestures and the jewel-like double patination, with flesh picked out in a golden highlight, give the sculpture a refined grace which is astonishing in a bronze of such large scale. Chéret's mastery of bronze is also seen in the composition. The broad circle of cupids is held aloft by the slender form of the girl, giving an extraordinary impression of lightness quite contrary to the material. Réverie d'amour perfectly epitomises the late nineteenth century romantic spirit.

RELATED LITERATURE
S. Lami, Dictionnaire des Sculpteurs de l'école française, au dix-neuvième siècle, Paris, 1914, vol. I, pp. 371-5