Albert-Ernest Carrier-Belleuse

Overall the condition of the bronzes is very good, with minor dirt and wear to the surfaces consistent with age. A few original stable casting joints are slightly visible, including to the upper arms and neck of the lute player, and to the neck of the tambourine player. There is minor rubbing to the patina at the high points. There are a few minor nicks and scratches, including to the tambourine. There is some minor dark spotting in areas, including to the lute player's abdomen.
"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."

Carrier-Belleuse's Neapolitan Dancers owe their inspiration to similar models by Francisque-Joseph Duret (see lot 10) and François Rude. Duret and Carrier both exhibited models at the 1833 Salon that took their inspiration from the theme of Neapolitan fishermen, the Lazzaroni, whose anonymous but carefree poverty appealed to the Romantic sense of escapism. Carrier's dancers closely follow Duret with their distinctive raised leg and arms, and twisted torso ultimately inspired by the Vatican Dancing Faun.