Southern German, 17th century

Brussels, Musée de la Maison d'Erasme, Anatomie des Vanités, 2008

A. Vanautgaerden (ed.), Anatomie des Vanités, exh. cat., Musée de la Maison d'Erasme, Brussels, 2008, p. 40

Overall the condition of the wood is very good, with minor dirt and wear to the surface consistent with age. The proper left little finger is lost. An attribute is missing from the proper right hand. Joints are slightly visible at both upper arms. There is also a joint, or split, to a section of the terrasse on the figure's left side at the back, with some minor losses at the back. There is some dark staining to the surface in areas, notably to the proper right arm. There is wear to the gilding and paintwork of the base, in particular to the edges.
"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."

Like lot 109, this Tödlein compares to 17th-century examples in its inclusion of decaying skin acting as substitute clothing. Captured in a sinister balletic pose, it recalls the dancing movement of Leinberger's prototype (Beck, op. cit., fig. 63).

RELATED LITERATURE
H. Beck and B. Decker (eds.), Dürers Verwandlung in der Skulptur zwischen Renaissance und Barock, exh. cat. Liebieghaus, Frankfurt am Main, 1981, pp. 298-304