Alfred Boucher

Overall the condition of the marble is excellent. There is some minor dirt to the surface consistent with age. Two faint, naturally occurring, dark veins run down the centre of the relief along the hair and neck of Diana.
"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."

Alfred Boucher's Tête de Diane was the first of his variations on the theme of the female body emerging from a roughly carved surround. The theme owes an obvious stylistic influence to Rodin's reinterpretation of Michelangelo's Slaves, but Boucher's more traditional portrayal of the female form gives this work a heightened sensuality.

The sculptural potency of this format continued to intrigue Boucher whose theme continues with Volubilis exhibited at the 1896 Salon, Aux Champs from 1897 and the 1912 revision entitled La Rêve. The unfinished nature of these pieces provoked some contemporary critics, but they were also to inspire a new generation of artists, including Boucher's student Camille Claudel.

RELATED LITERATURE
Alfred Boucher, pp. 50-1, nos. 43 and 44