42 - Spanish or Portuguese School. Mid-17th century.

Spanish or Portuguese School. Mid-17th century. “Unidentified Saint” Carved and polychromed wooden sculpture, with traces of gilding. 149 x 62 x 31 cm. This elegant sculpture raises the question of the identity of the figure depicted, which remains uncertain for the time being. It is not possible to determine with certainty whether the figure is secular or religious, although the latter possibility seems more plausible. However, the absence of iconographic attributes makes it impossible to establish which saint it might represent. Among the various hypotheses, one possibility worth considering is that the figure represents one of the Holy Children, Justus or Pastor. The anonymous sculptor depicts a youthful-looking figure, as revealed by his facial features, dressed in the style of men’s fashion from the late sixteenth and early seventeenth centuries. His attire consists of a ruff, a fitted, buttoned doublet, voluminous slashed breeches, high boots, and a cloak draped over his left shoulder. The depiction of sacred figures in clothing contemporary with the time of their creation was a common practice in religious sculpture across the Iberian Peninsula, even in the case of figures from the earliest centuries of Christianity, such as martyrs. This practice helped bring their image closer to the faithful. The garments are characterized by gently curved, naturalistic folds, with the exception of the cloak, whose drape from the shoulder creates deep, dynamic folds of relatively little thickness, demonstrating the sculptor’s technical skill. The figure stands on a base representing uneven ground and adopts an essentially static posture, enlivened by a slight contrapposto. He raises his left hand to his chest in a gesture of devotion while holding a closed book in his right hand—attributes that seem to support the hypothesis that he represents a saint. A hole can be seen in the central area of the base, which may have been intended to accommodate an additional element—perhaps an iconographic attribute that would have helped identify the figure. In any case, this was not a processional image but rather an altarpiece sculpture, since the reverse side is only roughly carved and lacks polychromy. The oval-shaped head reflects a markedly symmetrical design, evident even in the treatment of the hair. This regularity is interrupted only by a diagonal forelock arranged across the forehead, while the rest of the hair is arranged in tight, spiral curls that cascade down the sides of the head to the neck. The face features painted, curved eyebrows; painted oval eyes; accentuated eyelids and under-eye bags; a large, narrow nose; a pronounced nasolabial fold; and a closed mouth with full lips. The prominent chin and rosy cheeks are also noteworthy, contributing to the definition of the figure’s expression, characterized by serenity and a combination of gentleness and naivety. Despite the static nature of the composition and the sculptor’s intention to maintain a compact overall form—avoiding excessive projection of the limbs beyond the sculptural block—the figure displays considerable elegance. The carefully arranged garments contribute to its distinctive refinement. Both the characteristics of the clothing and the stylistic and facial features allow the work to be dated to the mid-seventeenth century. Furthermore, the restrained polychromy—limited to a range of ochre tones with a few touches of gilding on the garments—may point to the work of a skilled sculptor from the northwestern Iberian Peninsula, perhaps Galicia or even an artistic center in northern Portugal. We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloging this work. Provenance: - Private collection. Torroella de Montgrí, Girona, Spain.