Sir Jacob Epstein

(British, 1880-1959)

Maquette for Madonna and Child 35.5 cm. (14 in.) high

Footnotes

Provenance
The Artist, by whom gifted to
Private Collection, U.S.A., by whom bequeathed to
Private Collection, Switzerland

Exhibited
London, Tate Gallery, Epstein, September-November 1952, cat.no.56 (another cast)
London, The Leicester Galleries, Fifty Years of Bronzes and Drawings by Jacob Epstein, June-July 1960, cat.no.50 (another cast)
Auckland City Art Gallery, Jacob Epstein; Drawings and Sculpture, March-April 1961, cat.no.47 (another cast, ill.b&w on the catalogue cover)
Birmingham Museums & Art Gallery, Rebel Angel; Sculpture and Watercolours by Sir Jacob Epstein, October-November 1980 cat.no.50 (another cast)

Literature
Richard Buckle, Jacob Epstein: Sculptor, Faber and Faber Limited, London, 1963, p.343, pl.534 (ill.b&w, another cast, as Maquette for the Cavendish Square Madonna and Child)
Edward and Barbara Schinman (ed.), Jacob Epstein: A Catalogue of the Collection of Edward P. Schinman, Farleigh Dickinson University Press, New York, 1970, p.84 (ill., another cast)
Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, pp.208-209, cat.no.437 (ill.b&w, another cast)

In 1950 Epstein, on request of the architect Louis Osman, undertook his first public commission in over 20 years, for the Convent of the Holy Child of Jesus in Cavendish Square London. Although now regarded as some of his finest works, Epstein's public commissions had yet to be truly appreciated by the audience of the day. As such Osman, determined to secure an Epstein work to compliment his architecture, kept the identity of the sculptor concealed until a maquette was completed.

Osman was not kept waiting long; with eagerness Epstein neglected all other works and over the course of one tireless week produced Maquette for Madonna and Child without the promise of any financial reward. In an ovaloid composition, the present work depicts the Virgin Mary as initially modelled on Epstein's mistress Kathleen Garmane. She displays an introverted serene gaze positioned protectively over a commanding child Jesus, arm outstretched to foretell of the crucifixion.

Upon presentation to the Mother Superior, marred by Epstein's then reputation, the initial response was one of dismay. Osman, so set on the Madonna and Child, threatened resignation; after in-depth discussion the Convent was brought round to Madonna and Child with the single proviso that the Madonna was to be remodelled to look down protectively over the child Jesus and those that passed below in the square.

In May of 1953 the final 13 foot sculpture was unveiled to a rapturous response and continues to be deemed as "the most successful of his large modelled sculptures". (Richard Cork, Jacob Epstein, Tate Gallery Publishing, London, 1999, p.69).

We are grateful to Evelyn Silber for her assistance in cataloguing this lot.