Sculpture, Santo Obispo - 90 cm - Limewood

Exceptional freestanding sculpture of a Saint Bishop carved in solid wood, firmly attributed to the School of Southern Germany (c. 1600-1700). A magnificent Early High piece characterized by the linear hieraticism typical of Late Gothic Central Europe (Spätgotik) and a unique historical patina. Due to the geometric and rigid fall of the drapery folds, the severe face and the short hair resolved in fixed curls, the work could be catalogued as: "Circle of Tilman Riemenschneider" or "Workshop of Hans Bilger". Justification: Regional masters from Franconia and Swabia (South Germany) imposed at the beginning of the 16th century this typology of solemn sacred effigies. Their assistants and local workshops faithfully replicated this type of non-polychromed carvings for small chapels. A monumental solid-wood freestanding sculpture from the 17th century by an anonymous master of the German School is being offered at auction. The piece represents the liturgical dignity of a Saint Bishop, adorned with the traditional ecclesiastical garments meticulously carved: he wears a tall pointed mitre (a typology that began to standardize in Central European workshops at the turn of the century) decorated with a relief cross, a cope over the shoulders and the alb cinched at the waist by a braided cord from which two cinctures with tassels hang. Style and technical characteristics: The sculpture stands out for the masterful linear and geometric treatment of the garments, with strongly vertical and angular folds ending clearly at the feet; an unmistakable hallmark of Late Gothic Central Europe (Spätgotik). The face shows sobriety, mysticism, and restraint, framed by hair resolved in fixed, symmetric locks that fall on both sides. Technically, the figure is carved from a monolithic block and does not have a hollowed back. This structural feature is highly valued in Germanic imagery of the period, as it confirms it was conceived as a fully three-dimensional work intended to be freestanding, originally designed to preside over an altar predella, a private chapel or a small oratory chapel of private character. Condition: The wood is stripped of ancient polychromies or late repaints, allowing the viewer to admire the subtle traces of manual planing tools (gouges) and the deep natural oxidation accumulated on the surface over almost five centuries. It shows surface wear typical of its advanced age, small natural cracks from wood contraction stabilized, and old traces of woodworm already treated and inactive. The semi-open hands indicate the loss of the old freestanding attributes (such as liturgical staff or a book of writings), wear customary in liturgical pieces of this period that does not diminish its extraordinary historical value. REFERENCES: Baxandall, Michael. The Limewood Sculptors of Renaissance Germany (Yale University Press). Foundational study on wood sculpture seen from southern Germany and its fold structures. Kammel, Frank Matthias. Spätgotische Skulptur in Schwaben und Franken (Nürnberg). Typification of mid-sized saint bishops for regional altars during the turn of the 15th to 16th century. From a private collection Note: "To guarantee the safety and perfect condition of the work, depending on its volume and nature, transport and delivery may be carried out by the seller themselves"

Estimate:$1,904.18

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