SPANISH, 17TH CENTURY | Corpus Christi

Overall the condition of the ivory is good, with some dirt and wear to the surface consistent with age. The corpus is composed in sections, and stable original joints are slightly visible at the shoulders. There are a few losses, notably to four fingers of each hand. There are further minor losses to the crown of thorns, and to the edges of the perizonium. There is stable splitting to the ivory, consistent with the material. There is a small lacuna to the inside of the proper left thigh. There are two probably original ivory plugs, one below the proper left knee and one to the back of the head, which probably conceal the tusk's natural root canal. There is some yellowing to the ivory in areas, particularly to the back. There is some residue to the back at the proper left shoulder and at the joint, which may be glue.
"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 was surely carved by the same hand as another sold in these rooms on 10 July 2014, lot 110; the comparison is striking. It is carved with the same 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 17th-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 17th 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