Spanish, probably Burgos, mid-16th century

Private collection, the Netherlands

Overall the condition of the reliefs is good, with dirt throughout and some wear to the surface consistent with age. There is wear to the gilding and polychromy, including some craquelure and flaking, notably to the woman's hair, the man's hat and his coat. There are light abrasions and losses to the polychromy to the tips of both noses. Some of the polychromy may have been refreshed; the backgrounds of both reliefs appear to have been overpainted. There is some stable splitting to the wood consistent with the material, in particular to the woman's neck and proper right shoulder. There is a loss to the hair at the top of the woman's head, and there are a few further chips and losses. There are metal hooks for hanging at the back. The reverses are inscribed with numbers in blue and red pencil.
"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."

These beautiful portrait tondi illustrate the idiosyncratic Spanish interpretation of Italian Renaissance sculpture. Stylistically they recall the work of Alonso Berruguete (circa 1488-1561), whose expressive figures dominated 16th-century sculpture in Castile. The woman's face in particular, however, with her short nose and elongated cheeks, finds a compelling comparison in works that have been associated with the circle of Diego de Siloe, who was active primarily in Burgos during the first half of the 16th century. Compare the kneeling figure in a Burgos relief of The Birth of Saint John the Baptist in the Art Institute of Chicago (inv. no. 1909.121).

RELATED LITERATURE
S.L. Stratton (ed.), Spanish Polychrome Sculpture 1500-1800 in United States Collections, exh. cat. Spanish Institute, New York; Meadows Museum, Dallas; and Los Angeles County Museum of Art, Los Angeles, 1994, pp. 73 and 93, no. 7; M. Arias Martinez, Alonso Berruguete: Prometeo de la escultura, Palencia, 2011