AFTER CHRISTOPHE-GABRIEL ALLEGRAIN (1710-1795), FRENCH, CIRCA 1845-1865 | VENUS AFTER THE BATH
AFTER CHRISTOPHE-GABRIEL ALLEGRAIN (1710-1795), FRENCH, CIRCA 1845-1865 | VENUS AFTER THE BATH
AFTER CHRISTOPHE-GABRIEL ALLEGRAIN (1710-1795), FRENCH, CIRCA 1845-1865 | VENUS AFTER THE BATH
AFTER CHRISTOPHE-GABRIEL ALLEGRAIN (1710-1795), FRENCH, CIRCA 1845-1865 | VENUS AFTER THE BATH
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AFTER CHRISTOPHE-GABRIEL ALLEGRAIN (1710-1795), FRENCH, CIRCA 1845-1865 | VENUS AFTER THE BATH

Estimate: 15,000 - 20,000 GBP

AFTER CHRISTOPHE-GABRIEL ALLEGRAIN (1710-1795), FRENCH, CIRCA 1845-1865 | VENUS AFTER THE BATH

Estimate: 15,000 - 20,000 GBP

Lot Sold:18,750GBP

Lot Details

Description

AFTER CHRISTOPHE-GABRIEL ALLEGRAIN (1710-1795)

FRENCH, CIRCA 1845-1865

VENUS AFTER THE BATH


inscribed: GRAUX-MARLY. / FT DE BRONZE A PARIS

bronze, black patina

130cm., 51⅛in. 

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Condition Report

The black patina of the bronze is slightly dry. There is light surface dirt throughout. The bronze would benefit from professional cleaning. Otherwise the condition is good, with some wear to the surface consistent with age. There are several nicks and scratches, notably to the proper left knee and to the buttocks and proper left shoulder blade. There are a few minor abrasions to the high points of the drapery, including below the proper left buttock. The bronze was cast in sections and a few original joints are visible, including at the proper left wrist. Some further light surface scratching at the proper left arm. There are a few very small lacunae to the drapery at the back. There is some rust

coloured staining to the support on which the proper left foot rests.


"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." 

Cataloguing

Provenance

Heinrich Ueberall (1869-1939), Berlin;

given by the above as collateral to the Dresdner Bank, Danzig;

sold by the Dresdner Bank to the Nationalgalerie, Staatliche Museen zu Berlin (inv. no. B II 297) in 1935;

restituted by the Stiftung Preußischer Kulturbesitz to the heirs of Heinrich Ueberall in 2019

Literature

B. Maaz (ed.), Nationalgalerie Berlin: Das XIX. Jahrhundert, Bestandskatalog der Skulpturen, vol. I, Leipzig, 2006, p. 47, no. 28

Catalogue Note

Like the preceding lot, the present bronze was cast by the Graux-Marly foundry, which was active from 1845 but ceased production before 1864. Also copying an iconic sculpture of Venus - in this case that by the 18th-century French sculptor Christophe-Gabriel Allegrain - it is likely to have been made as a pendant to the Hope Venus (see lot 2).


The present lot was restituted by Stiftung Preußischer Kulturbesitz to the heirs of Heinrich Ueberall in 2019, together with the painting Sarah brings Hagar to Abraham by Matthias Stomer, which is being offered in Sotheby’s Old Masters Evening sale on 3 July (lot 25).

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19th and 20th Century Sculpture
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