Alfred Drury

Overall the condition of the marble is excellent. There are a few very minor naturally occurring inclusions consistent with the material, including a few which have been filled with plaster to the back of the dress. There are some visible naturally occurring veins in the marble which can be seen at the back of the base.
"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 Drury's bust of The Age of Innocence first appeared in bronze at the Royal Academy in 1897. The features are those of Gracie Doncaster, whose sister Clarrie's face is seen on Drury's figures of Morning and Evening in City Square, Leeds. The Age of Innocence followed Drury's ideal busts of Agnes and Griselda which had heralded a new direction in the sculptor's art, moving on from the influence of Drury's French teacher Aimé-Jules Dalou. These ideal busts aligned Drury's works with the spirit of British New Sculpture, and in particular with the work of his contemporary George Frampton. The busts were extremely popular and Spielmann notes that when an edition of The Age of Innocence was produced 'a very considerable number were bought up at once.' The present bust is a particularly fine and rare example of the model in marble. The date of 1914, the year the Great War was declared, gives the subject a particular poignancy, as the age of innocence came to an end.
 
RELATED LITERATURE
A. Baldry, 'Our Rising Artists: Alfred Drury, Sculptor', The Magazine of Art, 1898, pp.442-5; A. Graves, The Royal Academy of Arts: A Complete Dictionary of Contributors, London, 1905, p. 378; S. Beattie, The New Sculpture, London, 1983, p. 242; M. Spielmann, British Sculpture and Sculptors of Today, London,  1901, pp. 109-15