Spanish, second half 16th century

There is dirt and wear to the surface consistent with age. There is non-active worming to the surface throughout, most notably to Joseph and Mary. There is a restored joint running through the left side of the relief, visible at the back; the joint is also visible at the bottom of the base and at Joseph's forehead. There is stable splitting to the wood consistent with the material, notably at the top on the right side, and to the Virgin's head. There is wear to the polychromy throughout, particularly to the landscape and the animals' heads. There are various losses to the edges of the relief, notably to the Virgin's back and to the arched top, in particular behind the top left Angel. There is wear to the high points, in particular to Joseph and Mary's folds of drapery. There is a hole at the very top of the arch. There are three wood plugs to the underside of the base. Otherwise the condition is stable.
"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 remarkable Spanish relief relates to the work of Juan de Juni (circa 1507-1577), a contemporary of Alonso Berruguette (circa 1489-1561) who worked mostly in Castile and León, producing his masterpiece, the high altar of the church of La Antigua, now in Valladolid Cathedral, between 1545-1560. With its contrasting low relief and high relief carving, floating angels and heavily draped figures bowed in adoration, the present carving compares with Juan de Juni's reliefs for the high altar of La Antigua. Compare, in particular, the heavily limbed sleeping men with their faces in profile and beards thick with curls in the relief with Christ in the Garden of Gethsemane, with the figure of St. Joseph in the present relief (Foto Marburg, no: 322.215). Note also the figure of St. John the Minor who similarly leans on a staff, with head turned in profile (Foto Marburg, no: 322.220). The oxen in the present sculpture are closely paralleled by two animals in a relief with the Adoration in León Cathedral, which is attributed to the circle of Juan de Juni (Foto Marburg, no: 323.156). The slightly mannered poses (note the Virgin's proper right arm and St Joseph's proper left hand) are, however, reminiscent of the work of Berruguete, see, for example, his Sacrifice of Isaac from the Altar of San Benito in the National Museum of Sculpture, Valladolid (Gómez Moreno, op. cit., p. 43, no 22). It is consequently likely that the present relief was carved by a talented sculptor working in Castille around the time both Juni and Berruguete were active.

RELATED LITERATURE
M. Gómez Moreno, The Golden Age of Spanish Sculpture, London, 1963, p. 43, no 22; M. Trusted, Spanish Sculpture. Catalogue of the Post-Medieval Spanish Sculpture in Wood, Terracotta, Alabaster, Marble, Stone, Lead and Jet in the Victoria and Albert Museum, London, 1996, pp. 45-48