French, 17th century

with three old storage labels to the reverse of the mount

The bronzes stem from a larger ensemble from which the figure of Christ is lost. There is wear in the form of nicks and scratches to the patina throughout, particularly at high points such as the outer edges and the edges of the drapery. There are some minor spots of greening particularly to the lower half of the group of the far right. The proper right hand and proper left forearm of the Virgin are lost. Otherwise the condition of the bronze is good. The figures are mounted onto a modern wood support with screws that are attached to the original holes for mounting. There is wear and dirt to the mount throughout. There are four metal hooks to the reverse for hanging.
"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."

This set of bronze reliefs narrates the biblical story of Christ teaching in the house of the doctors. On the left we see Mary and Joseph enter hastily, their astonishment displayed through clenched hands and parted lips. A seated man looks up to where the figure of Christ, who was probably represented preaching on a podium, would have been. To the right are two groups of dignitaries. Two heavily cloaked men stand close, one holding a heavy stone tablet supported on his bent knee, the other stroking his beard in an accepted gesture of pensive repose. The group of three, positioned to the far right of the arrangement, looks on with great interest. The youngest man, in the background, cranes his neck for a better view of the Young Christ. The individuality of the figures is emphasised through much elaborated detail, making each character of a recognisable age and importance. The narrative and theatrical composition, and the care and quality with which these large reliefs were executed, suggests they were once mounted on a pulpit or altar front.

The linear narrative and the classical proportioning and drapery of the figures recall the paintings of Poussin and the facture of French relief sculpture in bronze. Comparisons include Henri Perlan and Francois Anguier's reliefs with the Borghese dancers and a Sacrifice divided between the Wallace Collection (inv. no. S155) and the Louvre (inv. no. MR 1709).