Sarah Bernhardt

Paris, Salon, 1879, no. 1798

Overall the condition of the marble bust is very good with minor wear and dirt to the surface consistent with age. There are a few minor naturally ocurring inclusions and some slight veining consistent with the material, including one or two very slightly open veins in the hair. There are a few abrasions to the bust and a few very minor chips to the edges and corners of the socle. There are some large chips to the corners and lower edge of the scagliola column. One of the corners has a reattached section.
"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."

Bernhardt and Hocquigny met in connection with the Theatre de L’Odeon during the Franco-Prussian war. During the war, Bernhardt had used her influence as its most illustrious performer to transform the Theater into a hospital for wounded soldiers. Hocquigny was at that time in charge of medical supplies for the Parisian hospitals.

Bernhardt, recalls Hocquigny in her memories precisely and with much affection. She wrote: “I received lint and bandages from every corner of Paris, but it was more particularly from the Palais de l’Industrie that I used to get my provisions of lint and of linen for binding wounds. There was an adorable woman there, named Mlle. Hocquigny, who was at the head of all the ambulances. All that she did was done with a cheerful gracefulness, and all that she was obliged to refuse she refused sorrowfully, but still in a gracious manner. She was at that time over thirty years of age, and although unmarried, she looked like a very young married woman. She had large blue, dreamy eyes, and a laughing mouth, a deliciously oval face, little dimples, and crowning all this grace, this dreamy expression, and this coquettish, inviting mouth, a wide forehead like that of the Virgins painted by the early painters, rather prominent, encircled by hair worn in smooth, wide, flat bandeaux, separated by a faultless parting. The forehead seemed like the protecting rampart of this delicious face. Mlle. Hocquigny was admired and made much of by everyone, but she remained invulnerable to all homage. She was happy in being beloved, but she would not allow anyone to express affection for her.” (S. Bernhardt My Double Life, Paris, 1907, p.166)

Bernhardt also exhibited a bust of the painter Lousie Abbema in Salon of 1879 (no. 4797), presently in the Musee d’Orsay (see next lot).