Attributed to Simon Troger (1683-1768) Austrian or Southern German, first half 18th century

with an ivory plaque to the top of the cross inscribed: JESUS / NAZARENUS / REX / jUDAEORUM

Overall, the condition of the ivory is very good, with minor dirt and wear to the surface consistent with age. The corpus is carved in sections, the arms have been carved separately. There is minor stable splitting to the ivory, consistent with the material, in particular to the arms and the torso. There is a stable open split running from the proper right armpit to the palm of the hand. There is some minor stable splitting to the face. There are a few flecks of dirt to the corpus. A flourish of drapery at the proper left buttock has been lost, and a small drilled hole is visible. There is splitting to the ivory skull, consistent with the material, and there are a few small chips to the teeth. There is a small hole to the top of the skull for the natural root canal of the tusk. The ivory is darker to the reverse than to the front. The frame has been relined with brown velvet. There is splitting to the wood, consistent with the material, in particular to the rays of light behind the crucifix. There are some small chips and abrasions to the foliate decoration, in particular to the scrolling motifs at the bottom, where there are some losses at the centre. The gilding has flaked in areas, revealing the gesso underneath, and the gilding may have been refreshed. There are a few small drilled holes to the frame.
"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."

The Austrian sculptor Simon Troger is widely regarded as having produced some of the most impressive and distinctive virtuoso ivory carvings of the eighteenth century. He trained in the workshop of Schmiedecker in Merano, and worked in Innsbruck, before settling in Munich where he was employed by Andreas Faistenberger and later set up his own workshop in Haidhausen. Troger's work is characterised by the technique of combining ivory, wood and glass to create representations of beggars and bucolic characters, as well as religious and mythological figures. Commissioned by patrons including Maximilian III Joseph, Prince Elector of Bavaria, Troger's figures appear in the collections of many European Museums.

The present Corpus is a rare example of a religious subject which can be attributed to Troger. The face is characteristic of Troger, with inset glass eyes, prominent nose and large ears, framed by flowing, curling, hair. The musculature is particularly close to the sculptor's Cain and Abel in the Bayerisches Nationalmuseum, Munich (inv. no. R4923): note the similar prominent rib cage and low pectorals. At first glance one would expect the perizonium to have been carved from fruitwood, as Troger is renowned for combining ivory and wood. However, it should be noted that both the Virgin's drapery and Christ's perizonium in the Pieta also in the Bayerisches Nationalmuseum (inv no. 4637) are likewise carved from ivory, in similar simplified pleats. The present Corpus, together with its frame, forms a magnificent ensemble; it is an important addition to the oeuvre of Simon Troger.

RELATED LITERATURE
R. Berliner, Die Bildwerke des Bayerischen Nationalmuseums: Die Bildwerke in Elfenbein, Knochen, Hirsch- und Steinbockhorn, Augsburg, 1926, pp. 106-107, nos. 507 and 509; E. von Philippovich, Elfenbein, Munich, 1982, pp. 319-331; E. von Philippovich, 'Kombinationsfiguren aus Elfenbein und Holz', Kunst in Hessen und am Mittelrhein, vol. 17, 1997, pp. 27-35; A. Scherp, So aller Orten grosse Verwunderung und Beyfahl gefunden: Die Elfenbeinwerke von Simon troger im Bayerischen Nationalmuseum, in R. Marth and M. Trusted (eds.), Festschrift für Christian Theuerkauff: Barocke Kunststückh, Munich, 2011, pp. 171-177