Lot 86
  • 86

Probably Flemish, late 17th/ early 18th century

Estimate
30,000 - 50,000 GBP
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Description

  • Virgin and Child
  • ivory
with an indistinct inscription on the underside which includes the number or date: 1716 and numbered: 3500 in black ink to the reverse

Condition

Overall the condition of the ivory is good. There is some wear and dirt to the surface consistent with age. There is some naturally occurring stable hairline splitting to the surface including some to the forehead and neck. One split is slightly open and runs from the proper right shoulder to the proper right hip. There are restorations to the base, feet and drapery on top of the head. There is a section of the base missing. There are two lost fingers to the proper right hand of Christ and a few minor further losses and chips. There are five holes for mounting to the reverse and the end of the root canal is visible on the top of the head.
"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."

Catalogue Note

Despite its exceedingly high quality and many idiosyncracies it is difficult to attribute the present ivory to a particular artist or school. However, the facial features resemblance the work of the master ivory carver François van Bossuit spring to mind. Note for instance the profile of the descending Venus from the Rijksmuseum's relief of Venus and Adonis (inv. no. N.M. 2931). The hairstyle, with its soft, voluminous locks pulled to the side of the head, the strong nose and the pronounced eyelids all compare well. Several of the Judith reliefs, particularly one on the Swiss art market in 1994 illustrated by Baker (op.cit., no. 3), repeat these elements and, in addition, provide excellent comparisons for the broad hands with their plump fingers and short, articulated fingernails. However, from these reliefs it is also clear that Van Bossuit generally employed more rounded faces. Another parallel can be drawn between the Christ Child and a putto in the relief of the Rape of the Sabines attributed to Van Bossuit from the Reiner Winkler collection (cf. Theuerkauff, no. 3) which has similar protruding curls with shallow drill holes. However, the wonderful rippling, almost nervous, drapery that envelops the group is not typical of Van Bossuit's work.

RELATED LITERATURE
J. Leeuwenberg and W. Halsema-Kubes, Beeldhouwkunst in het Rijksmuseum, cat. Rijksmuseum Amsterdam, The Hague/ Amsterdam, 1973, p. 250, no. 335; C. Theuerkauff, Elfenbein. Sammlung Reiner Winkler, Munich, 1984, pp. 26-27, no. 3; M. Baker, 'Francis van Bossuit, Böttger stoneware and the "Judith" reliefs', R. Kahsnitz and P. Volk (eds.), Skulptur in Süddeutschland 1400-1770. Festschrift für Alfred Schädler, Munich/ Berlin, 1998, pp. 281-294; P. Malgouyres, Ivoires de la Renaissance et des Temps modernes, cat. Musée du Louvre, Paris, 2010, pp. 32-33, no. 10