Spanish, second half 13th century

Private collection, Lisbon, Portugal

Wear, losses, and chipping paint throughout. There are different layers of polychromy as the paint has been partly refreshed throughout the centuries . Some age cracks including diagonal crack through his proper left cheek and some in arms. Otherwise, hairline cracks on surface. The separately carved and attached arms have been restored at the joins and there are losses to paint and restoration around those areas, as well as visible pieces of linen (typically used). There is a repair below his belly button. Several fingers have been repaired or reattached. One finger is lacking. Some worming, mainly visible from the back, and a few small worm holes on his face have resulted in consolidation in areas of losses. Restoration to proper left nostril. Cross likely to be associated. Overall, well carved and rare object.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This life-size sculpture of the crucified Christ would have been displayed between the choir and the nave of a church, the space reserved for the congregation, and it would have provided a dramatic focal point for the faithful. The Spanish medieval tradition of representing Christ was focused on realism; sculptors used flesh tones and often accentuated Christ’s wounds to induce greater emotion in the viewer. Here, the figure, with drooping head, closed eyes, and limp body, emphasizes Christ's humanity and suffering. This particular treatment gained currency around in the 13^th century, in contrast to more upright and triumphant representations of Christ on the cross of earlier centuries.

RELATED LITERATURE
Paul Thoby, Le Crucifix des origines au Concile de Trent: Etude iconographique, Nantes, 1959