Jacob Epstein, 'Madonna and Child', 1950
Jacob Epstein (British / American 1880 – 1959)
Madonna and Child, 1950
Sculpture (lead with bronze halos)
34cm.
In a bespoke carved oak devotional niche
Signed ‘Epstein’ (on the reverse)
Notes: Silber 437
Exhibition: London, Leicester Galleries, Fifty Years of Bronzes and Drawings by Sir Jacob Epstein (1880 – 1959), 10 June – 7 July 1960 #50 (Another Cast); Rye, Art Gallery, Jacob Epstein: Sculpture, Paintings and Drawings, 20 September – 9 October 1965, #19 (Another cast); Rutherford (N.J.), Farleigh Dickinson University, Exhibition of Sir Jacob Epstein’s Work: From the collection of Mr Edward P. Schinman, 19 Feb – 1 April 1967 (another cast)
This maquette was reputed to be made from lead retrieved from the roofs of buildings destroyed in the Blitz, like a phoenix from the ashes. Not only are they a reminder of tragic and difficult times, but perhaps they signify a pure rebirth and defiance against the evil wrought by the Nazi regime.
The maquettes are smaller versions of the major work that adorns the former convent of the Holy Child Jesus in Cavendish Square, London. Epstein had been chosen over Henry Moore and John Skeaping to undertake the project.
Sadly and ironically, even after all that had happened in the holocaust, there were factions of little Britain who objected to Epstein, a Jew, sculpting the faces of The Madonna and Jesus, as if nothing had been learnt from the recent cataclysm of war and hate. It is no wonder that Madonna and Child is regarded as an iconic work by Epstein, reproduced in books almost as often as the young sculptor’s shocking ‘Rock Drill’, now housed in the Tate Gallery.
To those who objected to Epstein’s involvement in this project, it is to be noted that the non-Catholic sculptor and the nuns of the Convent developed a sense of enormous mutual respect, succinctly expressed in a passage he wrote to the Reverand Mother…’the reward is that I had the opportunity to do a lasting work, carrying a spiritual message to all. ‘
Jacob Epstein (British / American 1880 – 1959)
Madonna and Child, 1950
Sculpture (lead with bronze halos)
34cm.
In a bespoke carved oak devotional niche
Signed ‘Epstein’ (on the reverse)
Notes: Silber 437
Exhibition: London, Leicester Galleries, Fifty Years of Bronzes and Drawings by Sir Jacob Epstein (1880 – 1959), 10 June – 7 July 1960 #50 (Another Cast); Rye, Art Gallery, Jacob Epstein: Sculpture, Paintings and Drawings, 20 September – 9 October 1965, #19 (Another cast); Rutherford (N.J.), Farleigh Dickinson University, Exhibition of Sir Jacob Epstein’s Work: From the collection of Mr Edward P. Schinman, 19 Feb – 1 April 1967 (another cast)
This maquette was reputed to be made from lead retrieved from the roofs of buildings destroyed in the Blitz, like a phoenix from the ashes. Not only are they a reminder of tragic and difficult times, but perhaps they signify a pure rebirth and defiance against the evil wrought by the Nazi regime.
The maquettes are smaller versions of the major work that adorns the former convent of the Holy Child Jesus in Cavendish Square, London. Epstein had been chosen over Henry Moore and John Skeaping to undertake the project.
Sadly and ironically, even after all that had happened in the holocaust, there were factions of little Britain who objected to Epstein, a Jew, sculpting the faces of The Madonna and Jesus, as if nothing had been learnt from the recent cataclysm of war and hate. It is no wonder that Madonna and Child is regarded as an iconic work by Epstein, reproduced in books almost as often as the young sculptor’s shocking ‘Rock Drill’, now housed in the Tate Gallery.
To those who objected to Epstein’s involvement in this project, it is to be noted that the non-Catholic sculptor and the nuns of the Convent developed a sense of enormous mutual respect, succinctly expressed in a passage he wrote to the Reverand Mother…’the reward is that I had the opportunity to do a lasting work, carrying a spiritual message to all. ‘
Jacob Epstein (British / American 1880 – 1959)
Madonna and Child, 1950
Sculpture (lead with bronze halos)
34cm.
In a bespoke carved oak devotional niche
Signed ‘Epstein’ (on the reverse)
Notes: Silber 437
Exhibition: London, Leicester Galleries, Fifty Years of Bronzes and Drawings by Sir Jacob Epstein (1880 – 1959), 10 June – 7 July 1960 #50 (Another Cast); Rye, Art Gallery, Jacob Epstein: Sculpture, Paintings and Drawings, 20 September – 9 October 1965, #19 (Another cast); Rutherford (N.J.), Farleigh Dickinson University, Exhibition of Sir Jacob Epstein’s Work: From the collection of Mr Edward P. Schinman, 19 Feb – 1 April 1967 (another cast)
This maquette was reputed to be made from lead retrieved from the roofs of buildings destroyed in the Blitz, like a phoenix from the ashes. Not only are they a reminder of tragic and difficult times, but perhaps they signify a pure rebirth and defiance against the evil wrought by the Nazi regime.
The maquettes are smaller versions of the major work that adorns the former convent of the Holy Child Jesus in Cavendish Square, London. Epstein had been chosen over Henry Moore and John Skeaping to undertake the project.
Sadly and ironically, even after all that had happened in the holocaust, there were factions of little Britain who objected to Epstein, a Jew, sculpting the faces of The Madonna and Jesus, as if nothing had been learnt from the recent cataclysm of war and hate. It is no wonder that Madonna and Child is regarded as an iconic work by Epstein, reproduced in books almost as often as the young sculptor’s shocking ‘Rock Drill’, now housed in the Tate Gallery.
To those who objected to Epstein’s involvement in this project, it is to be noted that the non-Catholic sculptor and the nuns of the Convent developed a sense of enormous mutual respect, succinctly expressed in a passage he wrote to the Reverand Mother…’the reward is that I had the opportunity to do a lasting work, carrying a spiritual message to all. ‘
