circle of Meinrad Guggenbichler (circa 1649-1723) Austrian, early 18th Century

carved in high relief

The overall condition is good and the piece is stable. Investigation of the surface by Catherine Hassall of Paint Analysis, London, reveals that the gilding and chalk-based gesso are original, and that the gesso and polychrome areas were originally covered with silver foil (which was glazed or painted with translucent colours). There are vertical cracks in the wood across the proper right shoulder as is evident in the catalogue photograph. The hands are loose but probably original. In the hollow back a later screw is evident which has been used for mounted.
"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."

This lively bust of Saint Rosalia is distinctly Austrian in style with its delightful intricacies of drapery and movement. More specifically it can be compared with the work of Meinrad Guggenbichler (c. 1649-1723). Guggenbichler was born in Switzerland but was active in Austria, particularly in the area around Linz. He worked principally on altarpieces and architectural sculpture for churches. His dynamic figures of saints display all the movement and billowing draperies of his Austrian contemporaries, but with a distinctive attention to the anatomy beneath them. In the present bust the vertical ripples of the drapery carefully delineate the contours of the saint’s torso and stomach, whilst the fluttering sleeves do not disguise the solidity of the limbs. Guggenbichler always gave particular emphasis to the hands of his figures, which seem to converse with one another in dramatic yet delicate gestures.

Whilst the treatment of the present saint’s eyelids and strong nose are reminiscent of Guggenbichler’s own Saint Rosalia in Mondsee monastery, she lacks Guggenbichler’s distinctive dimpled chin and elongated face. It is however possible that the present bust was produced by an artist working within the master’s circle.

Saint Rosalia was a twelfth century hermit of Sicily. She was particularly venerated in the seventeenth and eighteenth centuries after her remains were discovered and her intercession was powerfully invoked against the plague in Palermo.

RELATED LITERATURE
H. Decker, Meinrad Guggenbichler, Vienna, 1949, fig. 111