Attributed to Barthélemy Prieur (circa 1536-1611) French, Paris, late 16th/ early 17th century

Overall the condition of the bronze is good with minor wear and dirt to the surface consistent with age. The bronze has several layers of old lacquers, some of which has been rubbed off over the years revealing a mottled brown colour. There is an area of nicks to the proper left cheek. There is are a few small lacunae, including to below the inner corner of the proper right eye. There is some rubbing to the nose and to the high points and edges. The bust was soldered onto the socle, and the underside of the socle is filled with wood. There is wear and tarnishing to the gilding of the socle, including some greening to the edges.
"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."

The attribution of this statuette of Ceres to Barthélemy Prieur is based on three allegorical busts attributed to the artist in the Musée du Louvre (inv. no. MRR 309), the Musée National du Château de Pau (inv. no. 1121) and the National Gallery of Scotland (inv. no. PG 2508). All of the works, similar in size, not only share facial similarities but also bear the same intricate handling of the woman’s hair, which is drawn together behind the head and adorned with a headpiece. The folding drapery delicately articulates the form of her body underneath and the figures share a distinctive turned head and upwards gaze. Barthélemy Prieur was recognised as an expert in the arts during his own lifetime and was particularly regarded for his bronze statuettes, noted for their charm and simple elegance.

RELATED LITERATURE
G. Bresc-Bautier and G. Scherf (eds.), Cast in bronze. French sculpture from Renaissance to Revolution, exh. cat. Musée du Louvre, The Metropolitan Museum of Art, The J. Paul Getty Museum, Paris, 2009, pp. 128-131, nos. 25-26