EMILE JOSEPH NESTOR CARLIER | Female Nude

Overall, the condition of the marble is good, with some dirt and wear to the surface consistent with age. There is particular dirt to the abdomen and the upper legs and to the inside of the legs at the back. There is veining to the marble, consistent with the material, including a vein running diagonally from the proper left shoulder at the front down to the proper right breast. There is a further slightly open vein to the proper right arm around the elbow. This has been partially filled. There are further veins to the lower legs, to the proper right thigh and a small vein to the chin on the proper right side. There are naturally occurring inclusions to the marble, including some darker inclusions to the top of the head at the hair, to the proper left breast, and to below the proper right breast. The sides of the base have been left roughly hewn. There are a few small dirt marks, including to the proper left wrist and to a point of the hair on the proper left side of the face.
"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."

Born in Cambrai, Carlier was a student at the fine arts academies of Cambrai and Valenciennes. He later joined the École des Beaux-Arts in Paris, under François Jouffroy, Jules Cavelier and Henri Chapu. He debuted at the Salon in Paris circa 1875 with his statue of the chronicler Enguerrand de Monstrelet. His most famous work, Gilliat Struggling with the Octopus, won second prize at the Musée de Valenciennes in 1897.  The present figure epitomises Carlier's virtuoso treatment of figures in motion. The figure stands bracing herself against the violent wind, her body taut as she withstands the impact. The drama echoes that of the Gilliat, in which the male figure's form is strained, ready for movement. For Carlier's dynamic treatment of the female form, compare also his Panyre aux Talons d'Or and Baigneuse Debout.

RELATED LITERATURE:
E. Bénézit, Dictionary of Artists, vol. 3, Oxford, 1999, p. 244