- 138
Joseph Mozier
Estimate
25,000 - 35,000 GBP
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Description
- Joseph Mozier
- Springtime
- signed and dated: J. MOZIER. Sc: / ROME. 1869
white marble on a wood column
Condition
Overall the condition of the marble is good with some dirt and wear consistent with age. The tulip in the figure's proper right hand is reattached at the stem. The little finger of the figure's proper right hand is reattached and the tips of the middle and index fingers are restored. The front flower of her diadem is reattached. There are a number of naturally occurring inclusions, including to the proper right side of the figure's chest and face. Some of the inclusions have been filled. There is also some slight naturally occuring veining to the marble, including in the drapery between the figure's legs at the front. There is some stable splitting to the wood column consistent with the material and a few filled sections. There are some losses to the moulded decoration and filled sections.
"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 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."
Catalogue Note
Joseph Mozier turned to sculpture fairly late in life after making an early fortune as a merchant and partner in the wholesale dry-goods store Tweedy, Mozier & Co. He made a tour of Europe in 1842, where he met the sculptor Shobal Vail Clevenger. During this trip he was inspired to make a radical career change and re-train as a sculptor.
He returned to Europe in 1845, together with his family, and took lessons from the great American sculptor Hiram Powers in Florence. Their friendship eventually deteriorated into a bitter feud and contributed to Mozier's move from Florence to Rome. He had already made rapid progress in the art of sculpture and began exhibiting at the National Academy of Design as early as 1848.
As Mozier did not need to rely on portraits to produce an income, he was free to concentrate on ideal subjects such as the present personification. Mozier's critical reception was mixed and, perhaps because of his background as a merchant and his late vocation to sculpture, he was never fully accepted by the artistic establishment. However, he was buoyed by the commercial success of his work and his marbles may be seen in numerous public collections in the United States including the Chrystler Museum of Art, New York and the Hudson River Museum, Yonkers.
RELATED LITERATURE
H. Nicols and B. Clark, A Marble Quarry: The James H. Ricau Collection of Sculpture at the Chrystler Museum of Art, New York, 1997, pp. 122-44
He returned to Europe in 1845, together with his family, and took lessons from the great American sculptor Hiram Powers in Florence. Their friendship eventually deteriorated into a bitter feud and contributed to Mozier's move from Florence to Rome. He had already made rapid progress in the art of sculpture and began exhibiting at the National Academy of Design as early as 1848.
As Mozier did not need to rely on portraits to produce an income, he was free to concentrate on ideal subjects such as the present personification. Mozier's critical reception was mixed and, perhaps because of his background as a merchant and his late vocation to sculpture, he was never fully accepted by the artistic establishment. However, he was buoyed by the commercial success of his work and his marbles may be seen in numerous public collections in the United States including the Chrystler Museum of Art, New York and the Hudson River Museum, Yonkers.
RELATED LITERATURE
H. Nicols and B. Clark, A Marble Quarry: The James H. Ricau Collection of Sculpture at the Chrystler Museum of Art, New York, 1997, pp. 122-44