- 49
French or Flemish, 17th century
Estimate
12,000 - 18,000 GBP
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Description
- Christ on the Cross with Mary Magdalene
- fruitwood, on an ebonised wood cross
- French or Flemish, 17th century
Provenance
Art market, London
Condition
Overall the condition is good with minor dirt and wear to the surface consistent with age. There is minor stable splitting to the wood consistent with material, including down the centre of Christ's body. There are slightly visible joints to the top of his arms. There are a few small chips. There is minor worming, including to the Virgin. The paintwork on the crucifix is probably refreshed.
"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."
"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."
Catalogue Note
This beautifully carved crucified Christ and attendant Mary Magdalene compares closely with a larger Calvary group sold in these rooms on 8 December 2006, lot 78. The corpus is particularly close; note the same robust musculature, and the near-identical perizonium, which is knotted at the proper left side. There are also correspondences between the two Magdalenes; note the similar rocky bases, the same turn of the head and the analagous coiffures.
Both of the above can be compared to a third Calvary group in the Bayerisches Nationalmuseum, which is catalogued by Schädler as Flemish or French, second half 17th century, having previously been attributed to Georg Petel (1601/1-1634) (inv. no. 59/2). The corpus from the Munich group is compared by Schädler to a bronze Christ by François Girardon (1628-1715) at the church of Saint-Remy, Troyes. Like all three of the corpora discussed above, this example has a broad and powerful chest, and his hair similarly falls in curls onto one shoulder. The eyes, lips and the individual strands of hair are particularly beautiful and well executed.
RELATED LITERATURE
F. Souchal, French Sculptors of the 17th and 18th centuries. The reign of Louis XIV, Oxford, 1981, vol. II, pp. 14-83, nos. 67 and 113; K. Feuchtmayr and A. Schädler, G. Petel 1601/1-1634, Berlin, 1973, pp. 184-185, no. 148, fig. 259
Both of the above can be compared to a third Calvary group in the Bayerisches Nationalmuseum, which is catalogued by Schädler as Flemish or French, second half 17th century, having previously been attributed to Georg Petel (1601/1-1634) (inv. no. 59/2). The corpus from the Munich group is compared by Schädler to a bronze Christ by François Girardon (1628-1715) at the church of Saint-Remy, Troyes. Like all three of the corpora discussed above, this example has a broad and powerful chest, and his hair similarly falls in curls onto one shoulder. The eyes, lips and the individual strands of hair are particularly beautiful and well executed.
RELATED LITERATURE
F. Souchal, French Sculptors of the 17th and 18th centuries. The reign of Louis XIV, Oxford, 1981, vol. II, pp. 14-83, nos. 67 and 113; K. Feuchtmayr and A. Schädler, G. Petel 1601/1-1634, Berlin, 1973, pp. 184-185, no. 148, fig. 259