Lot 42: EDWARD HODGES BAILY | The Three Graces

white marble

185 by 234 by 87cm., 72¾ by 92 1/8  by 34¼in.

white marble

Overall, the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. The marble is composed in sections, and joints are visible, including: through the rocky base, which is divided into three principle sections; at the left Grace's proper left arm; and at both the right Grace's arms. There is a smaller carved section at the base at the back to the right of the signature. The marble exhibits a beautifully carved and polished surface. The marble may, however, have been briefly outside for a period of its life, as there is a small degree of loss of surface detail in a few areas. In particular to the ringlets of hair falling down the back of the right Grace, and slightly to the tops of the heads. There is natural veining to the marble throughout, consistent with the material, in particular to the middle Grace's legs, abdomen and back; and to the right Grace's proper right side. There is a prominent natural vein running across the left Grace's face and down into her neck. There is also natural veining to the middle Grace's face. The right Grace's proper left big toe and the toe next to it are restored, as are the tips of three of her proper right toes. The tips of two of the left Grace's proper right toes are reattached. There are minor naturally occurring inclusions to the marble, including to the middle Grace's upper back and proper left arm.There is a large inclusion to the right Grace's middle back. There are a number of small filled naturally occurring inclusions, including at the middle Grace's chest on the proper left side; to the left Grace's chest at the middle and proper left side, to her proper right cheek, and to her proper right wrist and proper right thigh. There is a loss or large inclusion to the left Grace's proper left cheek by the lip. There is particular wear to the right Grace's nose, where there are abrasions. There are some very minor chips and abrasions to the drapery and to the flowers, such as to one of the flowers held by the middle and left Graces. There are some prominent, slightly open veins, running horizontally through the base behind the middle Grace above the signature. There are some large naturally occurring inclusions to the left Grace's proper left shoulder blade. There is a series of very small inclusions to the left Grace's proper right lower leg. There are some blue-ish dirt residues beneath the proper right foot of the middle Grace. The marble base is in good condition, with various chips and abrasions to the edges. The lower part of the base appears to have been inserted into another base, leaving a horizontal line of dirt and paint running around the base.
"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."

Royal Academy of Arts, London, 1849 (1209)

Author Unknown, ‘The Graces: From the Group in Marble by E. H. Baily, R. A.’ The Art Journal, vol. XII, 1850, p.198 (illustrated);
A. Graves, The Royal Academy of Arts: A Complete Dictionary of Contributors, London 1905, pp. 93-5;
R. Gunnis, Dictionary of British Sculptors 1660-1851, London, pp. 32-6;
J. Kenworthy-Browne, ‘Marbles from a Victorian Fantasy’ in Country Life, 22 ^nd September 1966, vol. 140, pp. 708-12 (illustrated);
I. Roscoe, A Biographical Dictionary of Sculptors in Britain 1660-1851, New Haven and London, 2009, pp. 55-64

Joseph Neeld (1789-1856), Grittleton House, Wiltshire:
his sale, Christie's, 22 September 1966, lot 6,
Sebastian Ziani de Ferranti (1927-2015), Henbury Hall, Cheshire