Netherlandish or North German, late 17th century

private collection, Frankfurt, until the 1930s;
by descent to a private collection, United Kingdom

Overall the condition of the ivories is good, with some wear and dirt to the surfaces consistent with age. There is particular dirt in the crevices of the relief with Lot. There is some minor stable splitting to the ivory consistent with the material, notably a hairline split to the background of the Bathsheba relief at the top. There is a restored split or break running vertically across the centre of the Lot relief. There is a small area of slightly open and discoloured splitting to the left edge of the Lot relief. There is light veining to the ivory throughout, consistent with the material. There are a few minor scratches, including to the face of one of Lot's daughters. The cavity left by the central tusk is covered with wood at the top and bottom of both reliefs. The reverse of the Lot relief is covered with glue and velvet. The frames are in good condition, with some wear to the gilding.
"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."

These beautifully carved reliefs reflect the exuberant late Baroque classicism associated with Frans van Bossuit (1635-1692), the foremost ivory carver active in Amsterdam in the last decades of the 17th century. Bossuit was responsible for a relief with the Toilet of Bathsheba (Wallace Collection, inv. no. S263), and three compositions with Lot and his Daughters (E.C.U. de Balbian van Doorn, Jutphass; Sotheby's London 5 July 2000, lot 86; Galerie André Lemaire-Albéric Froissart, Paris). Each of the compositions differs from the present reliefs, but include the same idiosyncratic components, such as the pearls running through the hair of the women; the play between high and very low relief; and the surfeit of decorative detail. The grotesque elements, such as the gnarled hag in the Bathseba scene, together with the contemporary costumes, are reminiscent of the work of other North German ivory carvers, such as Joachim Henne (circa 1630-1707).

RELATED LITERATURE
J. Rasmussen, Barockplastik in Norddeutschland, exh. cat. Museum für Kunst und Gewerbe, Hamburg, 1977, pp. 373-404; J. Warren, 'Two Ivory Reliefs by Francis van Bossuit', R. Marth and M. Trusted, Barocke Kunststückh. Sculpture Studies in Honour of Christian Theuerkauff, Munich, pp. 66-72; E. D. Schmidt and M. Sframeli, Diafane passioni. Avori barocchi dalle corti europee, exh. cat. Palazzo Pitti, Florence, 2013, pp. 242-249, nos. 78-81; http://bossuit.rkdmonographs.nl/oeuvrecatalogus/oude-testament/ [accessed 25 October 2015]