Prince Paul Troubetzkoy

Overall the condition of the bronzes is very good. There is some minor wear and dirt to the surface consistent with age. There are a few minor chips to the edges of the bases.
"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."

Statuette of a model was exhibited by Troubetzkoy at the Milan Triennale in 1894, in a plaster version now in the collection of the Museo del Paesaggio, Verbania. It is sometimes called Dopo la posa or After the Pose– a title which perfectly describes the spirit of both figures, demi-nude models, resting between poses. The mood of the figures is informal and elegant, with the lines of the composition pared down to a delicate simplicity. The figures belong to the very early part of Troubetzkoy's career. They appear to depict the same subject, a girl who was also employed by Troubetzkoy to model for the Monument to Luigi Cadorna in Pallanza, dating to 1892. Statuette of a model was also conceived in 1892, whilst Girl Braiding her Hair dates to 1894. Their original plaster models are in private collections. Both were edited in bronze with slight variations. The present casts have the initial naturalistic bases which were squared off in later versions.  

These unsigned early casts convey all the spontaneity and imperfections of the original model, with little after-casting work. The pair may have been produced as 'proofs' by the founder, as a guide to subsequent castings. The figures brilliantly retain the impressionistic fervour of Troubetzkoy's concept.

We are grateful to John S. Grioni for his assistance in cataloguing this lot.

RELATED LITERATURE
Piantoni & Venturoli, pp.100-1; Sladmore Gallery, p. 65, no. 3