Jean-Jacques, called James Pradier

Overall the condition is very good. There is some dirt to the surface, particularly to the crevices of the drapery. There are a few very minor spots of greening. There is some minor wear to the patina, consistent with age.
"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."

In Greek mythology Pandora was the first woman, created by the gods to wreak revenge on humanity after Prometheus stole the secret of fire. Each of the gods gave her a gift to seduce mankind and with her she carried a jar which, when opened, released every evil into the world. Hesiod wrote an early account of the tale in his Works and Days, telling how Zeus "bade famous Hephaestus make haste and mix earth with water and to put in it the voice and strength of human kind and fashion a sweet, lovely maiden-shape, like to the immortal goddesses in face; ... and golden Aphrodite to shed grace upon her head and cruel longing and cares that weary the limbs."

In French 19^th century art Pandora became a popular subject, an embodiment of the Romantic conception of woman as a dual symbol of beauty and danger. That duality is emphasised by Pradier, as his sculpture has literally two sides, one modestly draped like an antique vestal virgin, the other revealing her nude form as she clasps the fateful jar to her breast.

Pradier exhibited his Pandore at the Paris Salon in 1850 and again the following year at London's 1851 Great Exhibition. Whilst there was a commercial edition in a reduced size (40cm) only two versions of the large bronze are recorded. One was the Salon version which remained in the artist's studio until his death in 1852 and was afterwards purchased, without reproduction rights, by Denière. The other was offered in 1876 by the Maison Normand. A large version, assumed to be the Salon bronze, is in the collection of the Musée d'art et d'histoire in Geneva. It seems likely that the present bronze can be identified as the other recorded version.

RELATED LITERATURE
C. Lapaire, James Pradier et la sculpture française de la génération romantique. Catalogue raisonné, Zurich, 2010, pp. 74-5 & 345-7, no. 263; C. Lapaire and J. Gaborit, Statues de Chair: Sculptures de James Pradier, ex. cat., Musée d'art et d'histoire, Geneva, 1986