- 7
Saint Joseph France, Paris, vers 1300
Estimate
8,000 - 12,000 EUR
Log in to view results
bidding is closed
Description
- Saint Joseph
- statuette en ivoire
- Haut. 8 cm
- Height 3 1/5 in
s'appuyant de son coude sur sa canne, Saint Joseph vêtu d'un long manteau drapé autour de son corps cachant la chaise sur laquelle il est assis; sur un socle recouvert de velours
Literature
RÉFÉRENCES BIBLIOGRAPHIQUES
R. Koechlin, Les Ivoires Gothiques Français, Paris, 1968, no. 172, pp. 75-6; D. Gaborit-Chopin, Ivoires médiévaux Ve-XVe siècle, cat. Musée du Louvre, Paris, 2003, nos. 103, 108, 145, pp. 301-6, 313-15, 379; J. Lowden and J. Cherry, Medieval Ivories and Works of Art. The Thomson Collection at The Art Gallery of Ontario, Toronto, 2008, no. 20, p. 58.
R. Koechlin, Les Ivoires Gothiques Français, Paris, 1968, no. 172, pp. 75-6; D. Gaborit-Chopin, Ivoires médiévaux Ve-XVe siècle, cat. Musée du Louvre, Paris, 2003, nos. 103, 108, 145, pp. 301-6, 313-15, 379; J. Lowden and J. Cherry, Medieval Ivories and Works of Art. The Thomson Collection at The Art Gallery of Ontario, Toronto, 2008, no. 20, p. 58.
Condition
Very good condition overall with some surface dust in the crevisses, especially in the folds of Joseph's dress. A few fine vertical hairline cracks to his left thigh and to his back. One vertical hairline crack on his back from top to bottom. Figure finely carved in the round with fine details and hatching to the flat side of his back, where the figure had probably been attached to an altarpiece. Very fine ivory.
"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."
"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."
Catalogue Note
Cette figure finement sculptée de Saint Joseph appartenait certainement jadis à une scène de Nativité. Le dos aplati de la statuette et les hachures au revers suggèrent que Saint Joseph était assis contre un fond, faisant probablement partie d'un petit retable. Notre ivoire est tout à fait comparable à une statuette de Saint Jean dans la collection Thomson (Art Gallery of Ontario, op. cit. no. 20, p. 58). On peut aussi rapprocher la composition à une Nativité au Musée du Louvre (inv. no. OA 2596). Le traitement de la chevelure ainsi que les traits du visage rappellent ceux du Saint Joseph dans la scène du Louvre, datant probablement vers 1250-1260. De plus, on retrouve des similitudes dans le traitement du visage et du manteau dans la figure du Nicodème de la fameuse Descente de croix au Louvre. Cependant, le style donné au drapé et particulièrement la manière dont le manteau glisse le long du bras gauche ressemble à des figures plus tardives tel le Saint Joseph dans le polyptique du musée de l'Hermitage, datant du premier tiers du XIVe siècle (Koechlin, op. cit. no. 172, pp. 75-6).
This finely carved figure of St Joseph probably comes from a Nativity group. A flat section with cross-hatching to the back, which is set at an angle, would suggest that the figure set against a background, possibly forming part of an altarpiece, surveying the scene from the right. In this sense, the figure compares with the small freestanding Saint John in the Thomson Collection of Art at the Art Gallery of Ontario (op. cit. no. 20, p. 58). The arrangement is directly comparable with a Nativity plaque in the Musée du Louvre (inv. no. OA 2596). The arrangement of the hair and the facial type of the St Joseph in the Louvre scene, believed to date around 1250-1260, are reminiscent of those seen in the present figure. The face and cap are further comparable to those of Nicodemus in the Louvre's famous Descent from the Cross (inv. no. OA 9943). However, the arrangement of the drapery, particulary the manner in which the cloak runs along the left arm corresponds better with later figures such as the St Joseph in a polyptych in the Hermitage, thought to date to the first third of the 14th century (Koechlin, op. cit. no. 172, pp. 76-6).
This finely carved figure of St Joseph probably comes from a Nativity group. A flat section with cross-hatching to the back, which is set at an angle, would suggest that the figure set against a background, possibly forming part of an altarpiece, surveying the scene from the right. In this sense, the figure compares with the small freestanding Saint John in the Thomson Collection of Art at the Art Gallery of Ontario (op. cit. no. 20, p. 58). The arrangement is directly comparable with a Nativity plaque in the Musée du Louvre (inv. no. OA 2596). The arrangement of the hair and the facial type of the St Joseph in the Louvre scene, believed to date around 1250-1260, are reminiscent of those seen in the present figure. The face and cap are further comparable to those of Nicodemus in the Louvre's famous Descent from the Cross (inv. no. OA 9943). However, the arrangement of the drapery, particulary the manner in which the cloak runs along the left arm corresponds better with later figures such as the St Joseph in a polyptych in the Hermitage, thought to date to the first third of the 14th century (Koechlin, op. cit. no. 172, pp. 76-6).