Property from a Belgian Private Collection (Lots 22-26)
SOUTHERN NETHERLANDISH, PROBABLY LIÈGE, EARLY 16TH CENTURY
Overall the condition of the wood is good with some dirt and wear to the surface consistent with age. There is stable splitting to the wood, consistent with the material, in particular to the face and crown and to the top of the head. There are further slightly open but stable splits running from the back of the neck to the bottom of the scupture. There is also an open split running from the proper right side of the neck across the drapery at the proper right arm. This split has been filled. The sculpture has been carved in sections and joints are visible at the saint's cloak above the proper left hand, to a section of the book, to the proper right hand, and to the sleeve at the proper right wrist. The staff has been carved separately and may be later. There are a few minor losses to the tips of the crown. There is a translucent varnish to the surface.
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.
Church of Saint Michael, Jalhay, Franchimont-Theux, until circa 1835;
Emmanuel de Biolley (1829-1892), Château des Mazures, Pepinster;
Vicomte Julien Davignon (1854-1916), Château des Mazures, Pepinster, by 1894;
Private collection, Belgium
J. de Borchgrave d'Altena, 'Collection Vicomte Davignon', in Trésors d'art religieux au marquisat de Franchimont, exh. cat., Theux, 1971, pp. 126-7; R. Didier, 'Rey David', in Lumen Canariense, El Cristo de la Laguna y su Tiempo, Estudio Critico I, exh. cat. Instituto de Canarias "Cabrera Pinto", Tenerife, 2003, no. 38; R. Didier, 'Rey David', in Stella Peregrinantium, La Virgen de Prima y su tiempo, exh. cat., Santiago de Compostela, 2004, pp. 354-55
Tenerife, San Cristobal de La Laguna, Lumen Canariense, 2003-2004;
Santiago de Compostela, Museo Diocesano, Monasterio de San Martino Pinario, 2004
The present statue is most likely to have been commissioned for the church of its original setting, Saint Michael's Church in Jalhay, which was built in 1515. Robert Didier (op. cit. 2003 and 2004) attributes it to Liège, based in particular on the treatment of the hair and the beard, with their soft undulating curls. The Liège workshops were slightly more conservative than their Brussels counterparts, and, therefore, still show some characteristics from the preceding century (Didier op. cit. 2004, p. 354). A dating to the 1520s, shortly after the opening of Saint Michael's church, can therefore be assumed. As a freestanding figure of King David, a rare iconographic theme in Netherlandish sculpture, the piece is impressive and of excellent quality.