Spanish, 17th century

Overall the condition of the ivory is good. There is wear and dirt to the surface consistent with age. There are naturally occurring stable darkened hairline fissures to the surface throughout. There is dark yellow discolouration consistent with material to the reverse in particular. There are stable splits to the ivory at the proper left side of the pelvis. The little finger of the proper left hand and four fingers of the proper right were reattached. There are losses to the crown of thorns, chiefly on the left side of the head and to a small section of the drapery at the proper right hip. A hole was drilled to the reverse of the head to excavate the cavity of the mouth. The arms and the suspended section of the drapery were carved separately and joined. The modern metal stand is in excellent condition.
"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 extraordinary Baroque corpus is carved with striking realism, underscored by the wounds in the chest, hands and feet. The nervous treatment of the individual strands of hair and the crown of thorns confirm that the ivory was executed by a highly talented 17^th-century ivory carver. Conceptually the crucifix appears to have been carved in the tradition of Gaspar Núñez Delgado (circa 1555 – after 1606). The elongated torso, muscles in the abdomen, oversized head and trailing hair recall numerous of Delgado’s corpora; compare with that published by Estrella (op. cit., no. 19). However, the rippling Baroque perizonium would indicate that the present corpus was carved later into the 17^th century. It is reminiscent, for example, of the drapery found on a corpus by the Genoese sculptor Domenico Bissoni (circa 1574-1637) published by Schmidt (op. cit., no. 52).

RELATED LITERATURE

M. M. Estrella, La escultura barocca de marfil en España. Escuelas Europeas y coloniales, Madrid, 1984, pp. 17-18, no. 19; E. Schmidt and M. Sframeli, Diafane passioni. Avori barocchi dalle corti europee, exh. cat. Pitti Palace, Florence, 2013, pp. 190-191, no. 52