Lot 89: IGNAZ ELHAFEN (1658-1715) AFTER PIETRO DA CORTONA (1596/7-1669) AUSTRIAN, CIRCA 1680-1685 | Relief with Xenophon's Sacrifice to Diana

ivory, within an 18th/19th-century glazed ebonised wood, gilt metal and ivory frame with metal mounts

relief: 14.8 by 25.6cm., 5¾ by 10 1/8 in.<br />frame: 26 by 36.6cm., 10¼ by 14 3/8 in.

ivory, within an 18th/19th-century glazed ebonised wood, gilt metal and ivory frame with metal mounts

The quality of the carving is superb. Overall the condition of the ivory is very good, with minor dirt and wear to the surface consistent with age. There is stable splitting to the ivory consistent with the material, in particular a slightly visible split running horizontally from the spolia column at the left through the tops of the columns of the temple, terminating at the far right side; this split appears to have been present when the artist carved the relief, as he appears to have cleverly concealed much of it by running the far entablature of the temple along it. There are some minor abrasions to the surface, in particular at the far left cherub and woman with basket of birds. There are a few small scratches and nicks, such as to the spolia column. There are dirt, gesso and glue residues, including to the sides of the relief. There are some small drilled holes in the sides of the relief. The relief is numbered in (relatively recent) blue pencil '66' or '99' twice to the reverse. A possible very very small chip to the lower right edge. The frame is in good condition with dirt and wear consistent with age, including stable open joints. The glass and ivory sections are a little loose. One of the ivory pieces has been wedged into place with a piece of cardboard. There are minor losses, scratches and nicks to the wood frame. There are drilled holes in the ivory and minor stable splitting consistent with the material. Residues of an illegible old label to the reverse. Dirt and glue residues. Minor oxidation to the metal mounts. Specks of paint.
"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."

F. Schestag, Katalog der Kunstsammlung des Freiherrn Anselm von Rothschild in Wien, vol. I, Vienna, 1866,  p. 22, no. 156;
C. Theuerkauff, 'Der "Helffenbeinarbeiter" Ignaz Elhafen', Wiener Jahrbuch für Kunstgeschichte, XXI, 1968, p. 124,  fig. 97;
C. Theuerkauff, Studien für Elfenbeinplastik des Barock: Matthias Rauchmiller und Ignaz Elhafen, diss. University of Freiburg, Breisgau,1962, pp. 100-101, 124, no. 28, fig. 97;
C. Theuerkauff, 'Baroque ivories from the collection of Anselm Salomon von Rothschild in Vienna', Apollo, February, 2003, pp. 19, 25, no. 32, fig. 28;
Marburg Photo Index, no. 1.008235, as the Marriage at Cana

Anselm Salomon Freiherr von Rothschild (1803-1874), Vienna;
private collection, Dusseldorf, circa 1900