Attributed to Georg Kriebel (circa 1580/90-1645) German, probably Magdeburg, first half 17th century

Noble collection, Belgium;
Belgian collection

Overall the condition of the ivory is good, with minor dirt and wear to the surface consistent with age, including dust in the crevices. There is minor stable hairline splitting to the ivory, consistent with the material, including to the proper left side of the Virgin's face and her chest, and down her legs. There is a stable joint at the Virgin's proper right arm, and another at the child's proper left shoulder. There are a few minor losses, notably to the Child's proper right big toe, His proper left little finger, and the Virgin's hair at the back. There is naturally occurring graining to the ivory at the Virgin's back. The ebony base is probably later; it is in good condition with minor wear, including a few very small chips around the bottom edge.
"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 heavily crinkled, almost paper-like folds of the Virgin's drapery find close parallels in ivory statuettes attributed to Georg Kriebel, particularly three separate groups of the Virgin and Saint John in Berlin (Staatliche Museen, inv. no. 7796), Oxford (Ashmolean Museum, inv. no. M.235), and Paris (Musée du Louvre, inv. no. OA 2300). Compare also the Virgin's facial type, with a long nose and plump cheeks, the agitation of the composition, as well as the 'wetness' of the hair, which are especially close to the Oxford group. Born and active in Magdeburg, the itinerant sculptor Kriebel is recorded to have worked in stone, wood and ivory, delivering works to various German cities such as Leipzig and Hamburg. From 1632 he was court sculptor to King Christian IV of Denmark in Glückstadt. The attribution of ivories to Kriebel is based on comparisons to his large-scale sculpture, which betrays a strong Italian Mannerist influence.

RELATED LITERATURE
C. Theuerkauff, Die Bildwerke in Elfenbein des 16.-19. Jahrhunderts, cat. Staatliche Museen Preussischer Kulturbesitz, Berlin, 1986, pp. 178-185; N. Penny, Catalogue of European Sculpture in the Ashmolean Museum, vol. II, Oxford, 1992, pp. 137-139; P. Malgouyres, Ivoires de la Renaissance et des Temps modernes, cat. musée du Louvre, Paris, 2010, pp. 32-33