Gilbert Bayes

Overall the condition of the marble is very good. There are some traces of original colouring and some dirt to the surface.
"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."

In 1901 Spielmann noted Gilbert Bayes's 'clever and spirited little sketch compositions in low-relief, mainly of horses with jockeys, mythic knights and the like.' The present model, though carved in the round, is reminiscent of relief-techniques with a strong frontal view. Fairy-tale subjects continued to fascinate Bayes throughout his career. The title may refer to a Russian legend in which all the rivers are personified as daughters of the great king of the waters – the sea. The subject allows Bayes to combine two seminal motifs from his oeuvre – the female nude and the horse - in a magical, stylised composition. The model dates to 1913 and another version in marble is in the collection of the Art Gallery of New South Wales, Sydney. Bayes also exhibited a version in bronze at the Royal Academy in 1919.

RELATED LITERATURE
L. Irvine and P. Atterbury, Gilbert Bayes Sculptor 1872-1953, London, 1998, p. 120; The Studio, 1917, vol. 72, p. 102; Royal Academy Exhibitors, 1905-1970, vol. 1, Calne, 1985, p. 102; M. H. Spielmann, British Sculpture and Sculptors of Today, London, 1901, pp. 143-4