Albert-Ernest Carrier-Belleuse

Sale: Sotheby's, New York, October 23, 2007, lot 82, illustrated 
Acquired at the above sale

Sandor Pierron, 'François Rude et Auguste Rodin à Bruxelles,' La Grand Revue, Paris, October 1, 1902, pp. 138, 62
June Hargrove and Gilles Grandjean, ed., Carrier-Belleuse, Le Maître de Rodin, exh. cat., Grand Palais de Compiègne, May 22-October 27, 2014, no. 76, another cast illustrated

There is minor scattered pitting to the surface, resulting from the lost wax process. Surface dirt and dust, especially in the crevices. There are several areas of the patina, notably the drapery, legs and the back of the head, where the patina has been touched-up or worked on, resulting in some chocolatey areas. The patina on the putti appears largely original, with several areas of rubbing, oxidation and discoloration. The sash holding the drapery has been re-gilt and there are a few scattered other areas of touch-up to the gilding. Three noticeable pin marks in the wing of the putti at proper right. Sold with a custom wooden base, 92 cm high x 62 cm wide by 62 cm deep.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

L'Innocence tourmentée par les amours is believed to have been by Carrier-Belleuse’s star pupil and assistant Auguste Rodin, who worked in Carrier-Belleuse's Paris studio from 1864. With the advent of the Franco-Prussian War in 1870, the market for fine terracottas and bronzes collapsed, and Carrier-Belleuse moved to Brussels. Rodin followed, and it was in Brussels that he allegedly modeled the L'Innocence. None of the sculptures created by Rodin during this period bear his signature, making attributions difficult. However, the present model was attributed to Rodin as early as 1902 by the Belgian writer Sandor Pierron (Pierron, op. cit. p. 154). A terracotta version of this composition, just under 23 inches high, was accepted by Jérôme Le Blay as executed by Rodin in conjunction with his employer, Carrier-Belleuse, and is to be included in their forthcoming monograph on Rodin (see Sotheby’s, New York, May 6, 2015, lot 208).