Jacques de Braekeleer

Salon de Bruxelles, 1869

Overall the condition of the marble is good with some localised areas of wear and dirt to the surface. There are some naturally occurring veins and inclusions to the surface. There are a few spots of green paint to the back.
"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."

Jacques De Braekeleer was a sought-after portraitist and celebrated for his public sculptures such as his monument to Quinten Metsys, but his marble nudes are arguably his most sensitive and appealing works. The present marble exudes charm and grace, as the gently spiralling form of the girl evokes a mood of repose. De Braekeleer has struck a skilful balance between the real and the ideal. The elegant gestures and poise of the nude are matched by a carefully observed naturalism in the curves and folds of flesh. Whilst De Braekeleer produced a number of sculptures on the theme of the seated nude, this appears to be the only known version of De maaltijd van de schildpad.  

RELATED LITERATURE
M. Marx and C. Engelen, Beeldhouwkunst in België vanaf 1830, Kessel-Lo, 2002, vol. I, pp. 356-7