German, Middle Rhine, 16th/17th century

with traces of polychrome, a label beneath indistinctly inscribed in ink including the words Francois... 646 in Livorno....1938

The torso is well carved as is in particular the head. Bottom right section of His beard is missing as is visible in the catalogue photograph and the tip of the nose and bottom left section of the lip have been chipped but this appears to have happened a long time ago. Traces of red polychrome in the corner of left eye and at edge of hair with forehead. The arms will have been separately attached and there is evidence of a rectangular attachment hole on the proper right shoulder. Flaws in the stone evident in the central section of the torso. At the back of his head in the hair there is evidence of an early repair as well as on the back of the shoulders. In the centre at the bottom of the back there is a further drilled later attachment hole to the left of which s ection of stone has been reinserted. For a clearer impression further detailed photographs are available upon request to the department ..
"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 beautifully observed and delicately carved torso of Christ was originally conceived as a full corpus with arms and legs, as the fixing holes attest.  It is constructed from various sections of alabaster and was originally painted: traces of the polychrome survive in the folds and crevices. The proportions of the upper torso are expertly rendered with the muscles pulled taught with the weight of the body hanging from the cross to which it was formerly attached. The detailed and pained expression, with slightly opened mouth and heavy eyelids, is full of pathos. The work was formerly attributed to Francois Duquesnoy.