Attributed to Martin Volk (c. 1700 - 1756) and Johann Theodor Düringer (1696-1761) German, Sauerland, circa 1740-1750

by repute from the church in Offheim, near Limburg/ Lahn
private collection, Wiesbaden

Overall the condition of the wood is good with minor dirt and wear to the surface consistent with age. The fingers, several sections of the crown of thorns and sections of the cords binding the perizonium are lost. There is a small loss and restoration to the locks of hair on the proper left side. There are a few further chips and abrasions. There is minor stable splitting consistent with material. there are a number of inserts, including to Christ's back on the proper left side. There are some small holes to the back of the perizonium and lower back. The arms and bottoms of the legs are carved separately and joints are visible. There are a few knots in the wood consistent with material.
"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."

The physiognomy of this beautifully carved corpus is particularly impressive, with the tendons, muscles, veins, nipples and the ripples of skin around the three nails being precisely delineated. In certain areas, there is a tendency towards ‘ornamentalisation’, especially visible at the almost mannerist knee joints. The emotional force of the Passion is apparent in the head, which is tilted to one side, and the anguished facial expression, with pained eyes and open mouth, framed by windswept hair.

RELATED LITERATURE
L. Baron Döry, Hadamarer Barock. Sakrale Bildhauerkunst des 18. Jahrhunderts, exh. cat. Diözesanmuseum Limburg/ Lahn, 1990, no. 20