Richard James Wyatt

Overall the condition of the marble is good. There is some dirt and wear to the surface consistent with age. There are a number of small chips, including to the edges of the base and to the drapery. The head has been reattached at the neck. The little finger of the proper right hand is reattached. There is restoration to the piece of cloth held in the proper left hand and there may be restoration to the tip of the nose. There are some naturally occuring veins and inclusions to the marble consistent with the material.
"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."

This impressive statue of a Nymph going to the Bath was carved by Richard James Wyatt (1795-1850.) Wyatt was a highly successful British Neoclassical sculptor who trained in Rome in the workshops of Antonio Canova and Bertel Thorvaldsen. Two of his most important commissions were a marble version of his Musidora, for William Cavendish, 6th Duke of Devonshire's new Sculpture Gallery at Chatsworth House (in situ,) and a marble statue of Penelope for Albert, the Prince Consort, for Windsor Castle (in situ.) Wyatt designed Nymph going to the Bath in 1831, originally for Maximilian de Beauharnais, Duc de Leuchtenburg, and exhibited the original at the Royal Academy in 1831. The present marble exhibits the virtuoso carving which became the hallmark of Wyatt's artistic maturity; note in particular the superb carving of the strands of hair that wind around the ears and the naturalistic delineation of the drapery.

RELATED LITERATURE
J. M. Robinson, The Wyatts. An Architectural Dynasty, Oxford, 1979, pp. 165, 168, fig. 99; I. Roscoe, E. Hardy and M. G. Sullivan, A Biographical Dictionary of Sculptors in Britain, New Haven and London, pp. 1424-1427