signed Pradier on the front of the integrally cast bronze base, and stamped with the SUSSE FRÈRES foundry mark and the letters SAV, raised on a Sienna yellow marble base.

Standard surface abrasions and rubbing. Minor chipping to 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.
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.

First exhibited at the Paris Salon of 1845, Pradier's marble Phryné is arguably the sculptor's most popular antique female subject and is part of a series of several antique women which Pradier created during the 1840s. This standing nude relates to another Salon marble, Nyssia, exhibited in 1848, however the pose was altered and polychrome was added to the drapery.

RELATED LITERATURE
Pierre Cadet, Susse Frères, 150 Years of Sculpture, 1837-1987, Paris, 1992, p. 12-14, illus.
Claude Lapaire and Jean-René Gaborit, Statues de Chair: sculptures de James Pradier, Paris, 1985,&nbs♑p;nos. 10, 15, and 16, pp. 137-140 and 152-15♔8