Spanish, 16th century

Overall the condition of the wood is good with dirt and wear to the surface consistent with age. The bust is hollow and there is a small hatch to the reverse. There are sporadic hairline fissures to the wood, most prominently to the top of the Saint's head and to the front of her drapery. There are two small losses to the paint on her proper right curl of hair and back of her head, another to the reverse of her proper left arm and further smaller losses throughout. There is some very minor stable worming.
"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."

The present bust of a female saint has the distinctive features of Spanish devotional art dating to the 15^th and 16^th centuries: her pinched nose, long face and drooped eyelids compare well with the figures of the Lamentation over the Dead Christ in the Meadows Museum, Dallas (inv. no. 89.02) and the Saint Catherine of Alexandria in the Joslyn Art Museum, Omaha (inv. no. 1954.302). Another polychromed wood reliquary bust of a female saint, dating to the 16^th century, can be found in the Hispanic Society of America as illustrated by Stratton (op. cit., p. 172). Both female saints stare resolutely forwards with inexpressive faces and downcast eyes; they are bedecked in elaborate apparel and both wear prominent head pieces to the tops of their foreheads. The parallel lines of gilding on both busts are achieved by scratching away overpaint, in a distinctive technique known in Spanish as ‘estofado’ - and in the case of the present bust, ‘rajado’.

RELATED LITERATURE
S. L. Stratton (ed.), Spanish Polychrome Sculpture 1500-1800 in United States Collections, exh. cat. The Spanish Institute, New York, Meadows Museum, Texas and Los Angeles County Museum of Art, Los Angeles, 1993, pp. 82-85 and 172