GERMAN OR SPANISH, 17TH CENTURY | Corpus Christi

carved boxwood

Arthur Sambon, Paris (probably)
Eduardo Moratilla, Paris
Georges Renand, Paris (acquired from the above in 1952)
Edouard & Jeannine Chapet, Paris (by descent)

The surface is fairly dirt, notably in the crevices. The arms, which should have been carved separately with a joint after the shoulders, are missing and a few toes as well (apart from three remaining ones). A loss is visible to Christ's proper left side between his neck and shoulder. A small wooden element is embedded on both shoulders with a metal hook screwed at the end to fix Christ on his stand. The link around his waist maintaining the perizonium is partly missing to Christ's proper right side. A lock of hair is also missing to proper right side. A few minor losses to the crown of thorns. Traces of white paint are visible to the back. The wood surface appears to have been coated with an old layer of varnish which is slightly flacking at some places, notably to the back. Otherwise, highly impressive figure with extremely expressive features. The carving of the anatomy is spectacular with the spinal, veins, mussels and ribs impressively detailed.
"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 fantastic modelling of Christ's suffering body with pronounced veins and ribs, as well as the features of his face with eyes and beard finely modelled remind the works of Southern Netherlandish sculptors of the early 16th century from the regions of Limburg and Maas valley. RELATED LITERATURE
M. Van Vlierden, Hout'en steensculptuur van Museum Catharijneconvent 1200-1600, Utrecht, 2004, p. 362-63, and 403.