Attributed to Johann Kaspar Hiernle (1710-1750) German, Mainz, circa 1750

by repute the Church of St. Stephan, Mainz;
rear courtyard, Himmelgasse 11, until 1905;
acquired for a church in Mainz-Amöneburg;
Mr. Leonhard, Höchst;
art market, Frankfurt;
Georg Hartmann, Frankfurt;
on loan to the Liebighaus, Frankfurt, 1978-1983;
on loan to the Landesmuseum Mainz, 1983 to 2014 (inv. no. DL 2000/11);
and thence by descent to the present owners

E. Neeb, Verzeichnis der Kunstdenkmäler der Stadt Mainz, I. Privatbesitz, Mainz, 1905, p. 52;
P. Metz, Mainzer Rokokoplastik, Giessen, 1927, p. 24;
L. Döry, 'Sebastian and Johann Kaspar Hiernle, Mainzer Bildhauer', Mainzer Zeitschrift. Mittelrheinisch Jahrbuch für Archäologie, Kunst und Geschichte 79/80, 1984/1985, pp. 219-220 and 232, no. A 24, fig. 14;
N. Beyer, Skulpturen des 17. und 18. Jahrhunderts im Landesmuseum Mainz, Mainz, 2001, pp. 112-113, no. 64

Overall the condition of the wood is good with minor wear to the surface consistent with age. There is stable splitting to the wood consistent with the material, notably to the proper left side of the face, to the front of the base, to the upper back, and to the drapery at the abdomen. There is wear to the polychromy, including flaking, in particular to the gold drapes on the Virgin's proper left side. There is darkening to the silvered polychromy, which may be oxidation, consistent with the material. Some areas of polychromy may be refreshed, possibly the face. The glass beads around the collar are probably original, and two are lost. The sculpture is carved in sections and stable original joints are visible, in particular at the back: at the proper right arm, and to the drapery low down on the proper left side, and at the bottom to the proper right foot. The reverse is hollowed out, and there are two iron hooks in the back. There are reattachments, glue restorations and wear to the halo, which detaches. Some of the rays of light from the halo are lost. There is a drilled hole in the drapery at the back below the proper left arm. There is some slight warping to the base, consistent with age and material. There is minor non-active worming, including to the base. There is an old paper label to the interior, printed: Frau Vischer / Frankfurt aM / Holzhecke 11
"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 impressive German Rococo statue of the Virgin was, until this year, on loan to the Landesmuseum, Mainz, where it was attributed to Johann Kaspar Hiernle (Beyer, op. cit., pp. 112-113), having been included in Ludwig Baron Döry's seminal 1984 essay on the sculptor and his brother Sebastian (died 1755) (Döry, op. cit., pp. 219-220, 232). 

Johann Kaspar Hiernle was the son of the celebrated late Baroque sculptor Franz Matthias Hiernle (1677-1732), a native of Bavaria who moved to Mainz and became court sculptor to Elector Lothar Franz von Schönborn (1655-1729). The elder Hiernle was responsible for numerous sculptures in Mainz cathedral and produced a series of mythological figures to adorn the gardens of the Elector's retreat, Lustschloss Favorite (destroyed). His success led to the creation of a dynasty for the family, with his sons Johann Kaspar and Sebastian receiving notable commissions in their own right. The present figure is a particularly beautiful example of Johann Kaspar's work, with Döry commenting that, in its delicacy, grace and unity, it surpasses all of the works created by the sculptor up to that point (Döry, op. cit., p. 219). The Virgin is thought to have been made for the church of St Stephan, Mainz, which provided Johann Kaspar with numerous important commissions, including a statue of St. Bonifatius (for a complete list see Döry, op. cit., p. 232). In its facial physiognomy, with oval shaped head and long neck, it finds a close parallel in the sculptor's Immaculata surmounting the Quintinkirchhofes in Mainz (1752) (Döry, op. cit., p. 209). Particularly attractive is the great swathe of cartaceous drapery which envelops the figure in what Dory describes as a 'chalice' with the effect that she appears almost pregnant (Döry, op. cit., p. 219). This is complemented by the Virgin's graceful gesture of blessing with her right hand, which, in turn, is counterbalanced by the tilted head. With its striking gold and silver polychromy with pale skin tones, the Virgin is one of the most powerful German Rococo sculptures to have been offered on the market in recent years.