CIRCLE OF DOMÉNIKOS THEOTOKÓPOULOS, CALLED EL GRECO (1541-1614)SPANISH, PROBABLY TOLEDO, CIRCA 1570-1620 | Christ the Saviour

Toledo, El Toledo de El Greco, 1982, no. 76

El Toledo de El Greco, Toledo, 1982, no. 76

Overall, the condition of the figure is very good, with minor dirt and wear to the surface consistent with age. The polychromy is largely of early date and is likely to be contemporary with the sculpture. There is general wear to the polychromy. There are some refreshments to the polychromy, where there have been old losses, such as at the proper right thigh and the fingers. There are various further patches of refreshed polychromy, in particular at the shoulders and at the proper left shoulder blade. There are some more recent very small losses, in particular to the shoulders and the lower legs. There is minor stable craquelure to the polychromy, in particular to the perizonium. There are vertical strands of minor craquelure running across the paint work at Christ's back. There is some minor stable splitting to the wood, consistent with the material, in particular to the middle of the perizonium at the genitals. There is some yellowing to the flesh tones, in particular under the arms. It is possible that some of the fingers could have been reattached. There is a small hole at the top of Christ's head for a halo. There are a series of very minor stable splits running from the top of the head down the proper left side of Christ's face, through the ear to the beard. There is general wear to the gilding at the perizonium, and the red ground is showing throughout. The base is composed in sections, and there are three metal struts in the top to strengthen the joints. The joints are visible in particular at the sides. There is a stable split at the proper left side of the base. There is minor non-active worming to the wood, in particular at the base, where there are some losses due to the worming. There is a patch of wear to the polychromy at Christ's proper right heel.
"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."

This impressive statue of the Risen Christ shows the influence of El Greco (1541-1614) in Spanish sculpture in the last third of the 16th century. Standing in contrapposto with one leg behind the other, Christ’s right hand is raised in blessing, his left hand lowered. The pose closely parallels the statue of the Risen Christ given to El Greco in the Hospital Tavera, Toledo (circa 1595-98). The present figure likewise exhibits a slight tilt of the head and a similarly svelte body, with toned musculature, the upper torso swinging on the hips. The Hospital Tavera figure is itself heavily indebted to Michaelangelo’s Risen Christ in Santa Maria sopra Minerva, Rome (completed 1521) and shows the innovations of Italian High Renaissance sculpture which El Greco brought to Toledo from 1577 until his death in 1614.

The present Risen Christ is likely to have been executed by an accomplished sculptor working in the circle of El Greco. Few sculptures are firmly attributed to El Greco, with the figures of saints and virtues from the San Domingo el Antiguo retable and high altar in the Hospital Tavera having been designed by the master but known to have been carved by others. The significant Toledan sculptor Juan Bautista Monegro (circa 1545-1621) operated within the orbit of El Greco and was heavily influenced by his innovations. Monegro’s greatest achievement was a magnificent series of statues for the facade of the Basilica of the Escorial, including the six Jewish Kings, commissioned by King Philip II.

Early in his career, Monegro had been responsible for the Retablo Mayor in the convent of Santa Isabel de los Reyes, Toledo, which was completed in 1572, five years before El Greco arrived in the city. In the third register below the surmounting Calvary scene, stands a statue of the Risen Christ. Arguably more muscular than the present figure, it nevertheless looks forward to the Mannerism of El Greco and, with a similar pose, provides a further point of reference for the present Risen Christ. A further concordance is seen in the perizonium, which likewise takes the form of a swathe of stylised drapery, barely concealing one hip. Spanish Mannerist sculptures of the quality of the present Risen Christ, which shows a confident grasp of human anatomy, are rarely seen at auction.

RELATED LITERATURE

González Zymla, ‘El retablo mayor del convento de Santa Isabel de los Reyes de Toledo: nuevas aportaciones a la obra de Andrés Sánchez, Juan Bautista Monegro, Juan Sanchez Dávila y Pedro de Cisneros el Mozo’, Archivo Español de Arte, Vol 81, No 323 (2008), pp. 253-270