Virgin and Child in ivory carved in the round.... - Lot 78 - Giquello

Lot 78
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3000 - 4000 EUR
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Result : 3 900EUR
Virgin and Child in ivory carved in the round.... - Lot 78 - Giquello
Virgin and Child in ivory carved in the round. The Virgin is seated on a rock tenderly clasping her Son, resting one of her cheeks on his head; she is dressed in a simple dress and a veil forming a mantle, one side of which returns to the front. Southern Germany, attributed to Ehrgott Bernhard Bendl (Baumgarten ?, ca. 1660-Augsburg, 1738), first quarter of the 18th century Height: 8,5 cm On a blackened wooden base and ivory ball feet Gross weight: 180,8 g (small crack on the back) Ehrgott Bernhard Bendl was a baroque artist from a family of sculptors established in Augsburg for at least two generations before him. After an apprenticeship in his family's workshop and a long tour that took him to Prague, Vienna, Rome and Paris, he received a number of commissions, including sculptures for the pillars of the Augustinian monastery in Augsburg, now in the Germanisches Nationalmuseum in Nuremberg, as well as figures for the altar of the Virgin in the cathedral of the same city. He produced many other works for churches and monasteries in southern Germany and Switzerland. He also worked with ivory, boxwood, gold and silver. He specialized in the interpretation of small subjects intended for private devotion, such as this charming and tender Virgin and Child. Several examples are known with very similar models: one in the Berlin Olbricht collection and another, lost during the Second World War, which was in the Berlin museum. The Louvre Museum has a variant of this one, which shows a Virgin also breastfeeding (Inv. OA 87), and the Thyssen-Bornemisza Collection has a Virgin with a Sleeping Child from the same workshop, which is conservatively attributed to the Dresden sculptor Paul Hermann (1673-1732). It is now accepted that Ergott Bernhard Bendl is the author of this group of small Virgins, all around ten centimeters, based on the 1972 study of Professor Christian Theuerkauff, recognized as the great specialist of Baroque ivories. Expressing a sense of intimacy, they have in common a similar treatment of the faces and hands as well as the still archaizing treatment of the draperies that break on the floor in the manner of the late Gothic. Works consulted : A. Radcliffe, M. Baker and M. Maek-Gérard, Renaissance and later sculpture with works of art in bronze, The Thyssen-Bornemisza Collection, London, 1992, cat.76, p 390-391 Staatliche Museen zu Berlin. Dokumentation der Verluste, Skulpturensammlung, VII, Skulpturen, Möbel, Berlin, 2006, p 64, cat.5421 P. Malgouyres, Ivories of the Renaissance and Modern Times, La collection du musée du Louvre, Paris, 2010, cat. 33, p 64. Exhibition Florence 2013, Diafane passioni. Avori barocchi dalle corti europee, Palazzo Pitti Museo degli Argenti, E.D. Schmidt and M. Sframeli, cat. 91, pp. 266-267.
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