David Peel, London

C. Theuerkauff, 'Notes on the Work of Sculptor Leonhard Kern', in The Burlilngton Magazine, vol. 115, no. 840 (March 1973), pp. 163-167, figs. 18 and 19 (illus.)
M. H. Schwartz (ed.), European Sculpture from the Abbott Guggenheim Collection, New York, 2008, no. 117 (illus.)
E. Schmidt, Mitteilungen des Kunsthistorischen Institutes in Florenz, 40, 1996, note 132

General, standard surface abrasions. Standard age cracks. Very minor chips/losses. Needs cleaning. Otherwise, overall, very good condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

RELATED LITERATURE

E Grünenwald, Leonhard Kern: Ein Bildhauer des Barock, exh. cat. Schwäbisch Hall, 1969
C. Theuerkauff, Die Bildwerke in Elfenbein des 16.-19. Jahrhunderts, Stattliche Museen, Berlin, 1986
H. Siebenmorgen (ed.), Leonhard Kern, exh. cat., Schwäbiཧsch Hall, Häll.–Fränk. Museum., 19ꦏ88

Theuerkauff wrote in 1973 (op. cit.) that the present ivory is closely related to the work of Leonhard Kern.  He draws comparisons with a bronze of the same subject in the Wallace Collection, London that is in turn clearly inspired by Michelangelo's monumental group of Samson's Victory over the Philistines. Michelangelo's sculptures were popular mode꧅ls for burgeoning artists and in this ivory the sculptor transforms the Mannerist prototype into his own Baroque masterpiece, meticulously carved in the round to 𓂃be viewed from all angles.

Compare the treatment of the hair, proportions of the body and fastidiously carved hands and feet in Kern's ivory group of Samson and the Lion in Berlin (Theuerkauff 1986 ,op. cit., no. 44) from the second half of the 17th century. The naturalistic carving of the base on the present group is seen in other carvings by Kern but none inc🍷orporate the extensive detail of the roots, vegetation anඣd reptiles. This treatment clearly reflects the sculptor's South German origin and recalls the silverwork of artists from the later 16th century such as Wenzel Jamnitzer.

While he worked on architectural commissions and on monumental sculpture, Kern specialized in small, portable collectors pieces, often incorporating nude figures to display his expert carving technique. Kern's oeuvre consists almost entirely of attributions. He signed a small number of works with his monogram LK and very few are documented. His success is underscored by his appointment in 16🔯48 as court sculptor to Frederick William von Hohenzollern, Elector of Brandenburg.