After Alexander Munro (1825-1871) British, 19th or 20th century

The marble has been outside and the surface is slightly weathered; there is consequently some loss to the surface details. There is particular wear to the detailing on the boy's clothes, such as that found on his belt and skirt. There is veining to the marble consistent with the material. There are naturally occurring inclusions to the marble, in particular to the proper right arm and chest. There are some small losses including to the edge of the boy's skirt at the front. There is some dirt to the surface, in particular to some of the crevices, and to the ferns between the dog's front legs. Otherwise the condition is good.
"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 rare and beautiful marble is carved after one of the most iconic models of Scottish Pre-Raphaelite sculpture, Alexander Munro's The Young Romilly, of which there is another version in the National Galleries of Scotland, Edinburgh (inv. no. NG 2571). Here, Munro revels in the delineation of differing surface textures and details, particularly in the fronds of shield ferns; evoking the lush flora and deep shades of green from the forests of the sculptor's youth in the Scottish Highlights. This model was inspired by Wandsworth’s poem ‘The Force of Prayer’, which recounted the legendary founding of Bolton Abbey by a Scottish Prince, William of Egremont or ‘Young Romilly’. The young prince is shown standing alongside his long-haired deer-hound, poised on the brink of a chasm, gazing across the Strid.

A young and spirited man from the Highlands, Alexander Munro arrived in London in 1844 at the age of eighteen to begin his artistic endeavor. It was through the patronage of Harriet, Duchess of Sutherland, that his fare to London was paid. It was also by whom that he was introduced to Charles Barry, who found him work on the new Houses of Parliament. In 1847, after perfecting his skills in sculpting, he was accepted into the Royal Academy.

RELATED LITERATURE 
B. Read and J. Barnes, Pre-Raphaelite Sculpture. Nature and Imagination in British Sculpture 1848-1914, London, 1991, pp. 46-60.