Aimé-Jules Dalou

Joseph Hirshhorn, New York
The Hirshhorn Museum & Sculpture Garden, Washington D.C.
Sotheby's London, 15 November 2005, lot 97

Overall the condition of the bronze is very good. There is some minor wear and dirt to the surface consistent with age with some minor rubbing to the nose. There are some very small pits to the surface (very minor original casting flaws).
"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."

Dalou's exploration of the female nude from the early 1870s onwards was a natural progression from his compositions of women in domestic settings, reading, sewing or nursing their children. It is interesting to note that it was a decade before Degas worked on similar themes. Many of these maquettes were worked up into more finished terracottas, but no life-time bronze casts exist, because Dalou discouraged the production of commercial editions (op. cit.). Had he been more open to casting his models, Dalou's contribution to the development of the nude in late 19th century French art would be much more widely appreciated.

RELATED LITERATURE
J. M. Hunisak, The Sculptor Jules Dalou: style and imagery (part 2), New York/ London, 1975, nos. 69-71