Circle of Hubert Gerhard (1540-1620) South German, early 17th century

with an old label to the underside of the socle inscribed: 2.358 / E3

Zürich, Galerie Le point, Crédit Suisse, Engel., 1999-2000, no. 61

J. Schoch (ed.), Engel., exh. cat. Galerie Le Point, Crédit Suisse, Zurich, 1999, no. 61

Overall the condition is good with dirt and wear to the surface consistent with age. There are a few nicks, including to the drapery at the proper right leg. The wings, which are probably original, have been reattached with possibly later mounts. The pins attaching the proper right wing are visible to the front. The wings are slightly loose. The proper right thumb is lost, and there is some oxidation. There are four drilled holes to the reverse. There are a number of small casting flaws, including to the reverse near the holes. There are a few small lacunae and fissures, including to the drapery at the front at the proper right side. There is some wear to the gilding. The footplate may be associated.There is minor wear to the socle and the sculpture is slightly loose on the socle.
"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 beautiful gilt bronze angel is close to the work of Hubert Gerhard and his workshop. The pose, with one arm raised and one arm lowered, the heavy, flowing, drapery, and the strap running across the abdomen, are reminiscent of the pair of kneeling angels by Gerhard from the Fugger Altar, dating to 1581-4, in the Victoria and Albert Museum (inv. nos. A.21-1964 and A.22-1964). The facial type and the frayed edges of the drapery compare particularly with Gerhard's Weihbrunnenengel of 1593-6 in the church of St. Michael, Munich (Diemer, op. cit., no. G 12 b). For a very similar pose, see Gerhard's terracotta angel, which is also in the church of St. Michael, Munich, and dates to 1584-8 (Diemer, op. cit., pl. 7).

Hubert Gerhard was a highly influential sculptor. He ran a large workshop, training a number of star apprentices who went to to become renowned sculptors in their own right, notably Hans Krumper (1570-1634). Gerhard was the first of the three great sculptors who brought Giambologna's courtly Mannerist style to the North. A Dutchman by birth, he worked for the princely Habsburg courts and, later, for the Dukes of Bavaria. His first documented commission was the Christoph Fugger Altar of 1581, which commemorated a member of the powerful Augsburg banking family.

RELATED LITERATURE
M. Baxandall, 'A Masterpiece by Hubert Gerhard', Victoria and Albert Museum Bulletin, 1965, vol. 1, no. 2,  pp. 1-17; D. Diemer, Hubert Gerhard und Carlo di Cesare del Palagio. Bronzeplastiker der Spätrenaissance, Berlin, 2004, vol. II, pp. 191, 252-253, 272, 459, nos. G 1 b-c, C 5 b, figs. 68-69, 88, 275, pl. 7