HARRIET GOODHUE HOSMER | The Sleeping Faun

Sotheby's London, 8 July 2003, lot 218

Overall, the condition of the sculpture is good, with dirt and wear to the surface, consistent with age. The marble has been outdoors and the surface is slightly weathered overall. There are some watermarks to the marble, including at the mouth and at the proper left lower leg. There are some paint residues, including to the grapes. There is a small restoration to the tip of the proper right big toe. There are some dirt marks, in particular to the ground and to the base. There are some possible abrasions to some of the edges of the elder faun's drapery. The elder faun's hair is slightly yellowed in areas. There are some small chips to the edges of the base. There are a few dirt marks to the torso, neck and chin of the elder faun.
"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."

Harriet Hosmer's The Sleeping Faun received widespread critical acclaim when the model was exhibited at the 1865 Dublin Exhibition. The beautifully conceived group is indebted to Neoclassical precedents and shows the clear influence of Hosmer's teacher John Gibson (1790-1866). Describing the version in the Museum of Fine Arts Boston (inv. no. 12.709), Jan Seidler Ramirez noted that 'the faun's form is that of a beautiful, perfectly proportioned adolescent; only his pointed ears provide a clue to his mythological origins ... Compositional skill and carving expertise are readily apparent in The Sleeping Faun. Hosmer's elegant, fluid control of lines coaxes the viewer's eye to ascend the composition, proceeding from the faun's extended limb and rising up the graceful curve of the torso, to pause at the face before descending to the figure's limp arm. The satyr nestled against the tree stump completes the design, having been introduced for purposes not only of story and contrast of mood but also balance' (op. cit., pp. 163-164). Aside from the version in the MFA, which is of similar dimensions, other versions are at the Walker Art Gallery, Liverpool and the Cleveland Museum of Art (inv. no. 1997.15) Harriet Hosmer was a remarkable sculptor and woman who defied the 19th-century notions of femininity.  She led what was considered at the time to be a bohemian lifestyle. Born in Watertown, Massachusetts, Hosmer knew at the age of 19 that she wanted to be a sculptor.  Early on she flouted convention and went to St. Louis to study anatomy at the all-male Washington University Medical School.  In 1852 she departed for Rome to study with John Gibson.  In Rome she developed close friendships within the Anglo-American community including the Brownings and Nathaniel Hawthorn.

RELATED LITERATURE
K. Greenthal, P. M. Kozol, J. Seidler Ramirez, American Figurative Sculpture in the Museum of Fine Arts Boston, Boston, 1986, pp. 163-167, no. 52