Pierre Jules Roulleau

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. The big toe on the proper right foot has been reattached and a joint is slightly visible. There are a few minor naturally occurring inclusions to the marble, including one to the drapery on the proper right wing and another to the proper left upper arm; there is also a larger, orange-coloured inclusion or vein to the proper left lower arm. There are a few very minor abrasions at high points, notably to the toes of the proper right foot and to the bird's wings at the back. There are a few red pencil marks, including to the proper right cheek and to the base on the proper right side.
"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."

Jules-Pierre Roulleau attended the École des Beaux-Arts in Paris, studying under Cavelier and Barrias. He won the second Grand Prix de Rome, and debuted at the Salon of 1878. The present model was first conceived in marble for the Exposition Universelle of 1889. Hebe and the Eagle became a popular subject towards the later 18th century, and in the present model, Roulleau has skillfully combined the classical theme with shapes and motifs fitting for French Romanticism of the 19th century. 

RELATED LITERATURE
S. Lami, Dictionnaire des Sculpteurs de l'École Française, Paris, 1970, pp. 198-199