Attributed to the Master of San Pablo de la Moraleja, Spanish, Valladolid, circa 1500

Overall the condition of the wood is good. There is wear and dirt to the surface consistent with age. There are several areas of rubbing to the paint including around the entire left flank and the right leg and arm. There are a few losses due to craquelure of the painted surface on the legs and proper left arm. The little finger of the proper right hand and the index finger of the proper left hand were reattached. The arms were carved separately: joints are slightly visible at both upper arms. There is some minor stable, naturally occurring splitting to the perezonium on the reverse.
"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."

Attributions to the Master of San Pablo de la Moraleja are primarily based upon a relief of the Deposition known to have originated from the town of San Pablo de la Moraleja, now in the collection of the Cathedral and Diocesan Museum of Valladolid. As both Ara Gil and Hernández Redondo have pointed out (op.cit.) the influence of German or Flemish sculpture is apparent in this group of works. Indeed it is likely that the Master may have been one of the many foreign artists who flocked to Valladolid in the late fifteenth century as it became the new Capital of the Kingdom of Spain under the Catholic Kings.

The present corpus can be compared to a processional corpus in the collection of the Colegiata de San Antolin, Valladolid, attributed to the circle of the Master of San Pablo de la Moraleja. The downturned mouth and fallen eyes, which are features of both corpora, are typical of the Master's expressive style. The treatment of the musculature and the veins in the arms in the present figure is also similar to the treatment of the San Antolin version.

RELATED LITERATURE
J. Ara Gil, Escultura gótica en Valladolid y su provincial, Valladolid, 1977; J. I. Hernández Redondo (2010), Cristo crucificado procesional, available: http://www.museoferias.net/marzo2010.htm, Last accessed 26 October 2010