HISPANO-PHILIPPINE AND SPANISH, 17TH CENTURY | Virgin of the Immaculate Conception

Overall the condition is very good with minor dirt and wear consistent with age. The mandorla: is made in sections, joints are visible (some stable but slightly open), there are some reattachments with glue, there are some losses to the rays of light. The polychromy appears to be original. There are a few minor losses to the paint. There is lacquer to the surface in areas such as at the faces of the cherubs. Stable splitting to the ivory consistent with the material, such as at the face. The hands have joints and original ivory inserts (to attach to the arms). There is stable splitting to the wood consistent with the material including in the folds of drapery at the back. Minor losses to the gilding on the base at the high points. The base is not quite flush to the floor. The crown may be associated.
"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."

Combining an Hispano-Philippine carved ivory face and hands with a Spanish statuette of the Virgin of the Immaculate Conception, this remarkable sculptural group is a testament to the rich trade between Spain and her empire in the 17th century. The face compares closely with Hispano-Philippine ivory carvings: see for example, the 17th-century ivory statuette also depicting Our Lady published by Estella Marcos (op. cit., no. 9, pp. 60-61).

The statuette itself follows the archetype first formulated by Alonso Cano (1601-1667) (see his Immaculate Conception, 1652, Royal Chapel, Granada Cathedral; see Pampoulides, Bray and Torres, op. cit., p. 102, fig. 1) and developed by his celebrated student Pedro de Mena (1628-1688). The grotesque designs around the base compare with drawings attributed to Cano. Compare also with examples from his Immaculate Conception series in: Parish church of Alhendín, Grenada; the Archbishop's Palace, Grenada; the church of San Nicolás, Murcia; Prado, Madrid; Iglesia Museo, Tordesillas; and Cordoba cathedral (Pampoulides, Bray and Torres, op. cit., pp. 102-107, figs. 2-7). The quality is such that an attribution to the workshop of Alonso Cano, or possibly his student Pedro de Mena, would not be unjustified.

RELATED LITERATURE
M. Trusted, Spanish Sculpture: A Catalogue of the collection in the Victoria and Albert Museum, London, 1996, pp. 64-67; X. Bray, The Sacred Made Real: Spanish Painting and Sculpture 1600-1700, exh. cat. National Gallery, London and NGA, Washington, 2010; A. Pampoulides, X. Bray and R. Torres, Pedro de Mena: The Spanish Bernini, exh. cat., Coll e Cortés, Madrid and London, 2014, pp. 102-107