Louis-Ernest Barrias

Romantics to Rodin, exh.cat., Los Angeles County Museum of Art, 1980, p.118-120, no. 10 for a similar model.
Pierre Cadet, Susse Frères: 150 Years of Sculpture 1837-1987, Paris 1992, p.52, (for an image of the model in the collection of the Musée des Arts Décoratifs)

 

 

Silver weight is 152 oz 4 dwt (4733 grams) Overall in good condition with the usual minor and natural hairline cracks to the ivory now blackened with time. there is no breaks or losses to the ivory. as visible in the catalogue illustration there is some tarnishing and discoloration to the silver surface and with traces of parcel gilding. very good presentation
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.
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In the present rare Susse version, the white skin of the sitter is rendered in ivory, and contrasts spectacularly with the silver of her gown. Another version in ivory is currently in the permanent collection on the Musée Des Arts Décoratifs (inv. 12008).  Barrias exhibited the model of La Nature Mysterieuse et La nature se devoilant devant la science in white marble at the salon of 1893. This first version of La Nature was entirely nude apart from the veil which hung over her head and fell to her feet at her back. Suitably, given its title, the marble was purchased by the Medical Faculty of Bordeaux. Barrias exhibited the model again in 1899 partly clothed and fashioned out of colored stones, fitting into the vogue for chryselephantine sculpture as in the present model.  It was exhibited at the Exposition Universelle in Paris in 1900, and won the grand prix for Messrs. Susse Frères at the Universal Exhibition in Liège in 1905.  The renowned bronzier and cabinetmaker Thèodore Millet wrote at the time "It may be regarded as the finest of the works exhibited." The contemporary allegory of the title reflects its modernity and thinly disguises the essence of the composition: a woman undressing.