CIRCLE OF DANIEL MAUCH (CIRCA 1477-1540), GERMAN, ULM, CIRCA 1510-1515 | VIRGIN AND CHILD ON A CRESCENT MOON
CIRCLE OF DANIEL MAUCH (CIRCA 1477-1540), GERMAN, ULM, CIRCA 1510-1515 | VIRGIN AND CHILD ON A CRESCENT MOON
CIRCLE OF DANIEL MAUCH (CIRCA 1477-1540), GERMAN, ULM, CIRCA 1510-1515 | VIRGIN AND CHILD ON A CRESCENT MOON
CIRCLE OF DANIEL MAUCH (CIRCA 1477-1540), GERMAN, ULM, CIRCA 1510-1515 | VIRGIN AND CHILD ON A CRESCENT MOON
CIRCLE OF DANIEL MAUCH (CIRCA 1477-1540), GERMAN, ULM, CIRCA 1510-1515 | VIRGIN AND CHILD ON A CRESCENT MOON
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CIRCLE OF DANIEL MAUCH (CIRCA 1477-1540), GERMAN, ULM, CIRCA 1510-1515 | VIRGIN AND CHILD ON A CRESCENT MOON

Estimate: 18,000 - 25,000 GBP

CIRCLE OF DANIEL MAUCH (CIRCA 1477-1540), GERMAN, ULM, CIRCA 1510-1515 | VIRGIN AND CHILD ON A CRESCENT MOON

Estimate: 18,000 - 25,000 GBP

Lot Sold:35,000GBP

Lot Details

Description

CIRCLE OF DANIEL MAUCH (CIRCA 1477-1540)

GERMAN, ULM, CIRCA 1510-1515

VIRGIN AND CHILD ON A CRESCENT MOON


gilt and polychromed limewood

110cm., 43¼in. 

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Condition Report

Overall the condition of the wood is good, with some wear and dirt to the surface consistent with age. There are a few losses, including to the finials of the Virgin’s crown, to the proper left fingers of the Child (with two small metal pins), to the Child’s proper left big toe (with another metal pin), to the end of the Virgin's hair on the proper left side, and to the bottom edge (due to worming). A joint is visible below the central finial of the Virgin’s crown. There are further joints at the Child's proper right elbow and the toes of his proper right foot, the latter is slightly unstable. There is some stable splitting to the wood, consistent with the material, including at the child’s abdomen and proper right thigh, and an open split through the virgin’s drapery and crescent moon, which has a wood insert. At least some of the gilding and polychromy appears to be original. There is wear to the polychromy and gilding, including craquelure and minor losses throughout; there are particular polychromy losses to the Virgin’s neck, the Child’s legs, and the Virgin’s drapery towards the bottom. There is some light surface dirt and the skin tones appear slightly discoloured. There is minor evidence of non-active worming, in particular to the crescent moon and around the bottom edge, the Virgin’s proper left thumb, the Child’s abdomen and legs, the Virgin's hair on the proper right side of face, and throughout the back. There are two wood brackets at the back. There is a plug to the top of the Virgins head.


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.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Cataloguing

Provenance

Private collection, Dinkelsbühl, Germany, circa 1920s;

private collection, Europe

Literature

G. Otto, Die Ulmer Plastik der Spätgotik, Reutlingen, 1927, p. 306, fig. 355;

S. Guillot de Suduiraut (ed.), Sculptures allemandes de la fin du Moyen Age dans les collections publiques françaises 1400-1530, exh. cat. Musée du Louvre, Paris, 1991, p. 223, fig. b

Catalogue Note

This charming group of the Virgin and Child on a crescent moon was made within the sphere of influence of Daniel Mauch, the last great late-Gothic wood carver to emerge from the famous School of Ulm in Upper Swabia. The arrangement of the Virgin's drapery and her long, thin strands of hair are clearly indebted to Mauch's Oertel Madonna of circa 1510-25 (Reinhardt, op. cit., no. 20), while the Child is near-identical to that held by the Virgin of the Wippingen Altar, carved in Mauch's workshop or circle around 1510-1520 (ibid., no. 31). The Virgin's sweet and youthful features are closely analogous to those of the Virgin in an Anna Selbdritt group in Colmar (Guillot de Suduiraut, op. cit., no. 60), which relates to a group of the same subject attributed to Daniel Mauch (Reinhardt, op. cit., no. 9). 


RELATED LITERATURE

B. Reinhardt and E. Leistenschneider, Daniel Mauch: Bildhauer im Zeitalter der Reformation, exh. cat. Ulmer Museum, Ulm, 2009

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