Comtesse Claudia de Maistre, Paris
Acquired from the above on April 23, 1967

Édouard des Courrières, François Pompon, Paris, 1926, illustration of another cast p. 45 (dated 1918)
Robert Rey, François Pompon, Paris, 1928, no. 19, illustration of another cast
Catherine Chevillot, Liliane Colas & Anne Pingeot, François Pompon 1855-1933, Paris, 1994, no. 123, illustrations of the plaster p. 212; illustrations in color of another cast pl. 33 & p. 139

In very good condition. Dark brown patina. There are a few minor scratches and surface dirt. A few specks of verdigris on the head and underneath the belly, otherwise fine.
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.

The bear became one of the most important subjects in the long career of artist and animalier François Pompon who, at the age of sixty-seven, first presented his L'Ours blanc to great acclaim at the 1922 Salon d’Automne. The present work, conceived circa 1918-1926, represents an important variation on that theme.

Pompon began his career as apprentice to such important sculptors as Auguste Rodin and Camille Claudel, but he broke with their Expressionist style to pioneer his own methods, elevating simple, clean lines to ꦜreveal his subjects' essential forms. Despite belated recognition, the artist is now renowned for the important mark he made in the history of sculpture, and he is often credited as an important precursor to Brancusi. Pompon forged an essential link between modern and contemporary sculpture, eschewing the deconstructed forms of most modern scul♑pture for a celebration of what he considered the essentials: medium and subject.