Portuguese, second half 18th century

By family tradition, Donã Carlota Joaquina (1775-1830), eldest daughter of King Charles IV of Spain (1748-1819);
by descent to the present owner

Overall the condition of the group is good with minor dirt and wear to the surface consistent with age. The polychromy is in very good condition. However, there is flaking in some places, notably: at the face, hands and arms of the woman clutching the crucifix; at the male mourner's proper right hand and feet; and at the folds and edges of the drapery worn by the figures. In some areas there have been abrasions to the paint, which have worn it away, such as at the left woman's proper left knee. The skull of Golgotha is lost. There is oxidation to the silver. The crown of thorns may be missing an element, and the one side comes loose from the terminal. Six of the kneeling woman's fingers are missing, as is her proper right thumb. The standing man's proper left toe appears to have been left intentionally absent. There is very minor splitting to the wood, consistent with material. The sculpture is composed in sections; a stable but open joint is visible running horizontally through the kneeling woman's drapes.
"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 large polychromed and gilt wood crucifixion group is an impressive example of Portuguese Baroque sculpture. The dramatic gestures, graphic realism in the body of Christ, and the elaborately patterned billowing drapes, are all characteristic of the best 18^th-century Portuguese sculpture. The present group finds a close comparison with another Portuguese 18^th-century crucifixion group in the Museu de São Roque, Lisbon (inv. no. 125). Note, in particular, the figure of St. John, with his angular facial features, prominent larynx, and outstretched arms; in each of these respects he is very similar to the male saint in the present group. The strongest parallel between the two sculptures, however, are the heavy blowing drapes worn by the attendant mourners. In both ensembles, these are richly patterned with gold foliate motifs, set against a deep green or light red ground. The correspondances are such that it should be considered that the two groups may be the work of the same sculptor.

The characteristics described above, notably the outstretched arms with extended fingers, and the flowing drapery, can be seen in numerous other sculptures from the period, such as the figures of St Anne and St Joseph, also from the Museu de São Roque (inv. nos. 2 and 3). This hyper-realistic and very dramatic approach parallels Spanish sculpture of the same period, but is also fundamentally indebted to Italian prototypes, namely works by Roman Baroque sculptors such as Alessandro Algardi (1598-1654). This Italianate influence is explained in part by the close relationships maintained by the Portuguese royal court and the city of Rome. In 1740, King John V (1689-1750), a great patron of the arts, commissioned an extraordinary chapel from Roman craftsmen to be erected in the Igreja de São Roque, the main Jesuit church in Lisbon. The Capela de São João Baptista, which was designed by Luigi Vanvitelli (1700-1773) and Niccolo Salvi (1697-1751), is constructed of lapis lazuli, porphyry and other pricely hardstones and marbles, with elaborate gilt-bronze sculptural decoration and micromosaic panels. The chapel, which is one of the masterpieces of European 18^th century design, was said to be the most expensive in Europe.

RELATED LITERATURE
E. Brandão (ed.), Colecção de Escultura da Misericórdia de Lisboa, Século XVI ao Século XX, cat. Museu de São Roque, Lisbon, 2000, pp. 109-110, 113, 127, 129 nos. 74-75, 78, 98, 100