ATTRIBUTED TO ARTUS QUELLINUS II (1625-1700) AND WORKSHOP, SOUTHERN NETHERLANDISH, ANTWERP, SECOND HALF 17TH CENTURY | LAMENTATION GROUP
Estimate: 10,000 - 15,000 GBP
ATTRIBUTED TO ARTUS QUELLINUS II (1625-1700) AND WORKSHOP
SOUTHERN NETHERLANDISH, ANTWERP, SECOND HALF 17TH CENTURY
47 by 43cm., 18½ by 17in.
Overall the condition of the group is very good, with minor wear and dirt to the surface consistent with age.The group is composed in several sections, and stable, original joints are slightly visible. One of these, to the right hand side of the rock, is open but nonetheless stable. There are two further open joints at the back. There was probably once a skull at the bottom of the composition, which is now lost. There is some very minor stable splitting to the wood, consistent with the material, including to the Angel on the right. There are a few minor losses, including to Christ's proper right index finger, and the proper right big toe of the Angel on the left. There are a few possible reattachments, with some glue or fill slightly visible. The cross detaches.
"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."
Private collection, the Netherlands
This moving Lamentation bears a striking resemblance to the work of Artus II Quellinus, one of the foremost sculptors active in 17th-century Antwerp. In mood, design and figural style, the present group relates closely to Quellinus's Coronation in the Church of Notre-Dame de Leliendael, Malines (Philippot, op. cit., p. 891, fig. 2). Compare also the facial type of the left hand Angel, in particular, with the Angel in the Funerary Monument of Anna-Catherina de Lamboy in Hasselt, as well as a wood Saint Michael in the Rijksmuseum (inv. no. BK-1978-35). The Angel on the right appears to be by a different hand, testifying to the close collaboration between Antwerp sculptors of this time. Similarly designed Angels are found, for example, in the work of Jan Pieter van Baurscheit the Elder (1669-1728, see op. cit. 1977, nos. 151-152).
La sculpture au siècle de Rubens dans les Pays-Bas méridioneaux et la principauté de Liège, exh. cat. Musée d'Art Ancien, Brussels, 1977, pp. 190-191; P. Philippot et al., L'Architecture religieuse et la Sculpture Baroques dans les Pays-Bas méridionaux et la principauté de Liège, 1600-1770, Sprimont, 2003, pp. 887-903