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"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century.

In Apparitions, Miracles and Devotion

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1/7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 1 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 2 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 3 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 4 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 5 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 6 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 7 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 1 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 2 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 3 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 4 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 5 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 6 aus 7
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Gothic. 15th Century. - Bild 7 aus 7
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"Christ". Imposing carved, polychromed and gilded wooden sculpture. Castilian workshop. Gothic. 15th Century.174 x 174 cm. The fingers of both hands have been restored.The Crucified Christ that we present is an excellent Gothic piece, probably from a Castilian workshop, that presents numerous peculiarities, perhaps because it was not made in one of the main sculptural centres. This is the reason that, although the general appearance is of a Gothic nature, some elements can be seen that do not fit with that period, which is the case of the curved folds and understated appearance of the loin cloth and also the way that the are feet arranged in a naturalistic position when it would be more typical for them to be placed in an internally rotated position.It is a life-size figure of Christ attached to the sacred wood by three nails – this arrangement, which over the centuries became the most common, was attributed by Lucas de Tuy to the Albigensian heretics, who points out that they conceived it that way with a certain sense of mockery and derision.  The figure has a serene face and calm appearance, suffering is not to be perceived anywhere and, likewise, there are hardly any traces of blood. The body, far from showing any sign of rigidity or hieraticism, has slight lateral movement due to the displacement of the hip towards the right side, and also to the projection of both knees towards the front. The anatomical treatment, far from being abstract or schematized, tends towards naturalism or, at least, has a tendency towards realism, in search of softness, rounded shapes and a generally kindly appearance.The eyes are closed and the mouth is slightly open, so that it looks as if he has just exhaled. The figure has a broad forehead, with curved eyebrows and a large nose. The head leans towards the right shoulder, collapsing due to the effect of death. The long hair is styled in a compact way, only given movement by a series of deep and parallel waves. The beard is short and is made up of small curly locks, the same solution that is used to compose the moustache. There is no crown of thorns.The arms are fully extended almost forming a horizontal line. He wears only a perizonium, or loin cloth, carved on the piece itself and adjusted in such a way that it hints at the anatomy of the hips. It is a short cloth that barely covers part of the thighs, leaving the knees exposed. It is tied at the left hip by a slightly bulging bow, furrowed by schematic curved folds, and decorated with two narrow gold stripes on the upper and lower edges.The Christ presents some small flaws in the polychrome on the shoulders, perhaps due to the fact that the sculpture has undergone some restoration. Likewise, and as is frequent in pieces that are so many centuries old and that have been used for worship, most of the original fingers have been lost and have been replaced by new ones with such skill that not only do they not disengage but they look like originals. In short, the work would have been carried out on an indeterminate date in the fifteenth century, perhaps more towards the end of the century, by a good sculptor based in an area far from the main sculptural foci, which is why, as we have already said, that the sculpture displays some somewhat backward elements for the period.We would like to thank Mr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this sculpture.
"Christ". Imposing carved, polychromed and gilded wooden sculpture. Castilian workshop. Gothic. 15th Century.174 x 174 cm. The fingers of both hands have been restored.The Crucified Christ that we present is an excellent Gothic piece, probably from a Castilian workshop, that presents numerous peculiarities, perhaps because it was not made in one of the main sculptural centres. This is the reason that, although the general appearance is of a Gothic nature, some elements can be seen that do not fit with that period, which is the case of the curved folds and understated appearance of the loin cloth and also the way that the are feet arranged in a naturalistic position when it would be more typical for them to be placed in an internally rotated position.It is a life-size figure of Christ attached to the sacred wood by three nails – this arrangement, which over the centuries became the most common, was attributed by Lucas de Tuy to the Albigensian heretics, who points out that they conceived it that way with a certain sense of mockery and derision.  The figure has a serene face and calm appearance, suffering is not to be perceived anywhere and, likewise, there are hardly any traces of blood. The body, far from showing any sign of rigidity or hieraticism, has slight lateral movement due to the displacement of the hip towards the right side, and also to the projection of both knees towards the front. The anatomical treatment, far from being abstract or schematized, tends towards naturalism or, at least, has a tendency towards realism, in search of softness, rounded shapes and a generally kindly appearance.The eyes are closed and the mouth is slightly open, so that it looks as if he has just exhaled. The figure has a broad forehead, with curved eyebrows and a large nose. The head leans towards the right shoulder, collapsing due to the effect of death. The long hair is styled in a compact way, only given movement by a series of deep and parallel waves. The beard is short and is made up of small curly locks, the same solution that is used to compose the moustache. There is no crown of thorns.The arms are fully extended almost forming a horizontal line. He wears only a perizonium, or loin cloth, carved on the piece itself and adjusted in such a way that it hints at the anatomy of the hips. It is a short cloth that barely covers part of the thighs, leaving the knees exposed. It is tied at the left hip by a slightly bulging bow, furrowed by schematic curved folds, and decorated with two narrow gold stripes on the upper and lower edges.The Christ presents some small flaws in the polychrome on the shoulders, perhaps due to the fact that the sculpture has undergone some restoration. Likewise, and as is frequent in pieces that are so many centuries old and that have been used for worship, most of the original fingers have been lost and have been replaced by new ones with such skill that not only do they not disengage but they look like originals. In short, the work would have been carried out on an indeterminate date in the fifteenth century, perhaps more towards the end of the century, by a good sculptor based in an area far from the main sculptural foci, which is why, as we have already said, that the sculpture displays some somewhat backward elements for the period.We would like to thank Mr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this sculpture.

Apparitions, Miracles and Devotion

Auktionsdatum
Lose: 99
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain

Generelle Versandinformationen vom Auktionshaus verfügbar

The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.

Wichtige Informationen

Apparitions and miracles inspired religious fervour; for centuries they fed the faith of believers and in the old continent they gave rise to marvellous works of art which became the most direct instruments for converting the New World to Christianity. 

The power of image at its greatest splendour. 

AGB

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From 50.-€ to 200.-€…………………………………………..at 10.-€

From 200.-€ to 500.-€…………………………………… …25 in 25.-€

From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€

From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€

From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€

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From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€

From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€

From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€

From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€

From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€

From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€

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15 days after the auction without having the buyer paid and removes the sold lots, "LST" will inform the seller and there will begin judicial proceeding in order to obtain payment. The delay in payment by the purchaser of his/her sold lots will carry an interest increase at a rate of 1,5% per month.

XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.

XIII. RIGHT OF FIRT REFUSAL AND REPURCHASE. "LST" in order to article 38 of "Ley 16/1985 de 25 Junio del Patrimonio Histórico Español" (BOE. 155 June 29, 1985), will notify in advance to the Ministry of Culture, the content of their catalogues. Concerning the lots subject to the legislation referred to in the preceding paragraph, the Administration may exercise the rights of first refusal and repurchase according to the law. "LST" will watch over the protection of Artistic, Historical and Bibliographical Heritage of Spain. For customers out of European Community, a tax for export is required by the Administration.

XIV. VALUE ADDED TAX (I.V.A). This tax will be accrued on commissions of "LST" for buyers, using the rates prevailing on the date of the auction.

XV. DATA PROTECTION. In order to the "Ley 15/1999 de 13 de Diciembre, de Protección de Datos de Carácter Personal", the client authorize "LST", the inclusion of their data in a customer file, and for the promotion by "LST" of the objects at all times the rights of access, rectification or deletion of personal data by sending the appropriate request to the following address: LA SUITE SUBASTAS, C/ Conde Salvatierra, 8, 08006. Barcelona.

XVI. EXPRESS LEGAL JURISDICTION. These Conditions are governed by and interpreted in accordance with the rules of Spanish law. The mere act of participating in the auction as seller, buyer or bidder, implies acceptance of these Terms and Conditions.

Sales operations are understood to be held at the registered office of "LST", C/ Conde de Salvatierra, 8, 08006. Any dispute shall be taken to the competent courts of Barcelona, expressly waiving any other jurisdiction, in accordance with Article 55 of the "Ley de Enjuiciamiento Civil".

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