Jean-Baptiste called Auguste Clésinger

white marble

Possibly Ferdinand Barbedienne, Paris

S. Lami, Dictionnaire des Sculpteurs de l'Ecole Française au Dix-neuvième siècle, Paris 1914, (ed.) 1970, pp. 400-401; W. Drost and U. Riechers, Charles Baudelaire. La Sculpture au Salon de 1859 (text from the French Review), Siegen, 1999, p. 59 (for related models)

Overall the condition of the marble is good, with some dirt and wear to the surface consistent with age. There are a few chips and abrasions, notably to the drapery around the shoulders, and to the drapery and hair at the back. There are a few areas with minor abrasions, in particular to the top of the head, to the forehead, and to the dress around the bosom. There are further chips and abrasions around the edges of the truncation and the bottom edge. There is some light veining to the marble consistent with the material. There are a few naturally occurring inclusions or open veins with some fill to the proper right shoulder. There are a few dirt marks, notably at the back. Some fill is slightly visible around the pearl necklace.
"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."

Clésinger had a passionate interest in portraying Italian women, producing several busts of Roman and Neapolitan subjects between 1858 and 1861. The present marble can possibly be identified with the Romaine transtévérine exhibited at the Salon in 1859 as no. 3147. Shown at the Great Exhibition in London in 1862, the bust was celebrated for its seductive beauty and recorded in the possession of Ferdinand Barbedienne. The sitter for this portrait was Anna (Nanna) Risi, a famous Roman model, who posed for many famous artists, such as Anselm Feuerbach.