CIRCLE OF TILMAN RIEMENSCHNEIDER (1460-1531), GERMAN, FRANCONIA, CIRCA 1500| SAINT NICHOLAS OF MYRA
CIRCLE OF TILMAN RIEMENSCHNEIDER (1460-1531), GERMAN, FRANCONIA, CIRCA 1500| SAINT NICHOLAS OF MYRA
CIRCLE OF TILMAN RIEMENSCHNEIDER (1460-1531), GERMAN, FRANCONIA, CIRCA 1500| SAINT NICHOLAS OF MYRA
CIRCLE OF TILMAN RIEMENSCHNEIDER (1460-1531), GERMAN, FRANCONIA, CIRCA 1500| SAINT NICHOLAS OF MYRA
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Property from the Collection of the late Sir Peter Moores CBE DL (1932-2016)

CIRCLE OF TILMAN RIEMENSCHNEIDER (1460-1531), GERMAN, FRANCONIA, CIRCA 1500| SAINT NICHOLAS OF MYRA

Estimate: 10,000 - 15,000 GBP

Property from the Collection of the late Sir Peter Moores CBE DL (1932-2016)

CIRCLE OF TILMAN RIEMENSCHNEIDER (1460-1531), GERMAN, FRANCONIA, CIRCA 1500| SAINT NICHOLAS OF MYRA

Estimate: 10,000 - 15,000 GBP

Lot Details

Description

Property from the Collection of the late Sir Peter Moores CBE DL (1932-2016)

CIRCLE OF TILMAN RIEMENSCHNEIDER (1460-1531)

GERMAN, FRANCONIA, CIRCA 1500

SAINT NICHOLAS OF MYRA


limewood, on a wood base

saint: 151cm., 59⅜in.

155cm., 61in. overall

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Condition Report

Overall the condition of the wood is good, with some wear and dirt to the surface consistent with age.

The proper left forearm is lost. Several joints are visible, which may represent either reattachments, replacements, or reinforced splits, including: at the back below the neck, through the mitre and the face on the proper right side, around the nose, a section of the mantle on the proper right side at the bottom, and sections of the mantle on the proper left side. There are a few minor losses, including to the edge of the mantle on the proper right side at the chest, to the fringe below the proper right hand, the fringe on the proper left side towards the back, and to some thin sections of he drapery behind the mantle on the proper left side. There is minor evidence of past worming, in particular at the back. There are possible replacements to the drapery at the bottom. The polychromy has been removed but some traces remain, notably in the face and in some crevices of the drapery.

The base is later. 


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.

Cataloguing

Provenance

Sotheby's London, 4 July 1991, lot 76

Catalogue Note

This characterful depiction of Saint Nicholas, with its hollow cheeks and lined mouth and eyes, shows influence of perhaps Franconia's most prominent sculptor, Tilman Riemenschneider. Compare to two figures of Saint Nicholas by Riemenschneider, which show the Bishop Saint with similar attributes, but slightly more decorated garb (Lichte, op. cit. vol. I, nos. 37 and 49). Compare the long straight folds of drapery of the present sculpture to that of a Holy Abbot, catalogued as 'Franconia', in the Bayerisches Nationalmuseum (inv. no. MA1611, op. cit. no. 167), and further to a Saint Lawrence by Riemenschneider and his workshop, with similar trim to the drapery (Lenssen, op. cit. vol. II, no. 71). 


RELATED LITERATURE

T. Müller, Kataloge des Bayerischen Nationalmuseums München, Die Bildwerke in Holz, Ton, und Stein, Munich, 1959, p. 172; C. Lichte (ed.), Tilman Riemenschneider: Werke seiner Blütezeit, exh. cat. Mainfränkisches Museum Würzburg, Regensburg, 2004, p. 289, no. 37 and p. 307, no. 49; J. Lenssen (ed.Tilman Riemenschneider: Werke seiner Glaubenswelt, exh. cat. Museum am Dom, Würzburg, Regensburg, 2004, p. 311, no. 71

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Old Master Sculpture & Works of Art
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