the artist seated on a tree trunk holding a sketch pad in his right arm and pen in his hand, a palette and brushes at his side, signed A. CARRiER on the base, the book inscribed Rembrandt, upon associated black marble columnar pedestal. 

RELATED LITERATURE

J.E. Hargrove, The Life and Work of Albert Carrier-Belleuse, New York and London, 1977, pp 218-21.

P. Kjellberg, Bronzes of the 19th Century, Dictionary of Sculptors, Paris, 1994, pp. 189-190.

Standard surface abrasions. Some verdigris. Overall in good condition. Marble pedestal with chipping around top and bottom edges and some restoration.
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.

Alfred-Ernest Carrier-Belleuse began his artistic tra𝓀ining at a young age, first with an engraver and then a goldsmith, before entering the École des Beaux-Arts in 1840.  Finding himself more attracted to the decorative arts, he began working with ceramics at the Minton factory and with metalwork for English companies such as Wedgewood and William Brownfield & Sons.  After his debut at the salon in 1850 with two bronze medallions, his volume of work increased immensely over the following decades; he produced a variety of subjects as well as decoration in bronze, terracotta, plaster and marble, often accented with ivory or porcelain. 

Carrier-Belleuse was instrumental in popularising the fashion for ideal portraits of historical personalities. After his return from England in 1855, he created a lively series of fantasy busts of great artists. The Rembrandt was one of the🎶 first of the sculptor's series of busts and was exhibited at the 1863 Union Centrale in Faience with a bust of Durer. These two were soon followed by portraits of Beethoven, Mozart, Michelangelo and Raphael, and in 1874, Rubens, van Ostade, Velazquez and Murillo were added to the series.