Alexander Munro

Overall the condition of the relief is very good. There is some minor wear and dirt to the surface consistent with age. There is a small scratch to her proper left eyebrow. There are some remnants of paper and slight streaks of blue and red paint to the front edges. There are some nicks to the edges particularly at the side of the lower right corner. There are round holes to the top and underside for mounting.
"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."

Sabrina fair
Listen where thou art sitting
Under the glassie, cool, translucent wave,
In twisted braids of Lillies knitting
The loose train of thy amber-dropping hair

John Milton, Comus, 1634

Sabrina has been identified alternatively as a nymph, mermaid and goddess of the Severn river. Inspired by Milton's poem, Munro set out to capture the nymph in an oval marble relief, framed by serpentine marble. The piece was carved circa 1860 and is now in the collection of the Ackland Art Museum, North Carolina, USA. Munro also collaborated with the French artist Clément Massier who produced the model in terracotta with an integral frame and exhibited it in Paris in 1878. This is only the second version of the terracotta to appear at auction.

RELATED LITERATURE
B. Read & J. Barnes, Pre-Raphaelite Sculpture: Nature and Imagination in British Sculpture 1848-1914, London, 1991, p.57