Attributed to the Master of Heiligenblutt Austria, Brixen, circa 1520-1525

St. Luzius with a white label numbered: 977. and St. Blazius inscribed 166. to the reverse

probably the Church of St. Blasius, Taufers, Vintschgau;
certainly European noble family, circa 1864-1866;
and thence by descent

A. Miller, "Der Bildhauer Christoph Scheller aus Memmingen und der Meister von Heiligenblut", Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum, 48, 1968, p. 107, no. II/22

Overall the condition of the figures is very good with minor dirt and wear to the surfaces consistent with age. There are a few uncarved areas which are potentially losses, notably: at Saint Blazius' upper arms and elbows (and, to a lesser extent, in the same areas on Saint Luzius). There are a few small losses, including to the drapery above Blazius' proper right forearm, and to the edges of the bases. The tip of Blazius' mitre is reattached. There is minor non-active worming to both figures, in particular at Luzius' coronet, where there are losses to the pinnacles. There is very minor stable splitting consistent with material. There is some flaking to the generally well conserved original polychromy.
"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 Master of Heiligenblut belonged to a group of wandering wood carvers who settled in South Tyrol in the early 16^th century to fill the void left after the deaths of Michael Pacher and Hans Klocker around 1500. The Master set up a thriving workshop in Brixen (Bolzano) which produced sculpture for a number of churches in the city as well as towns in the vicinity. The most complete altarpiece for which the Master provided sculpture is that in the parish church of the town Heiligenblut, hence his name. In his thorough survey of the Master’s work, which includes the present pair, Miller points out that the Master could be Michael Luptfrid, the only sculptor to be mentioned in the city archives in Brixen without documented work. (op.cit., p. 102)

The close relationship between the Master of Heiligenblut’s work and that of Christoph Scheller of Memmingen, South Germany, led Albrecht Miller to suppose that Scheller was his teacher. (op.cit., p. 100) The Master’s work is recognisable by swathes of drapery arranged in sweeping concentric ellipses or semi-circles. The figures are given personality by the carefully carved bulges, wrinkles and folds in the faces, particularly in the case of male figures. Certain successful facial types are nevertheless used on other occasions: the Blasius is a kinsman of St. Martin in Hofern and the St. Nicholas on the altarpiece in the church of St. Jacob in Villnöss whilst Lucius relates to Jesse on the Heiligenblut altar and God in the Landesmuseum Ferdinandeum Innsbruck (inv. no. P26). Since Christoph Scheller was active until about 1515 and the Master’s own altarpieces in Heiligenblut and Villnöss were finished in 1517 and 1520 respectively, it is likely that the sculptor arrived in Brixen around 1515 and worked in South Tyrol until circa 1525.

St. Lucius, here recognisable by his crown, spear, and orb, is the patron saint of Graubünden (Grigioni) in the Vintschgau and it is therefore likely that the only two sculptures by the Master that remain in this region, two reliefs with the Annunciation and the Visitation kept in the Monastery of St. John in Müstair, come from the same ensemble as the present pair. Since the former parish church in the town adjoining Müstair, called Taufers, was built in 1512 and devoted to St. Blasius it may be that the two reliefs and the present pair of carvings were part of a major altarpiece in that church.

RELATED LITERATURE
A. Miller, "Der Bildhauer Christoph Scheller aus Memmingen und der Meister von Heiligenblut", Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum, 48, 1968, pp. 81-122