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Attributed to Baltazar Gavilán (Peru, 18th century)
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Description
Attributed to Baltazar Gavilán (Peru, 18th century)
"Christ Bound to the Column"
Carved, polychromed, and gilded wooden sculpture, with glass eyes. On its original carved and gilded wooden base.
Column with two silver ex-votos.
71 x 32 x 31 cm.
Gavilán is particularly renowned for his sculptures of Ecce Homo. We are possibly looking at one of the most impressive, raw, and dramatic sculptures we have ever presented in our auctions.
The sculptor’s skill is divine; he possesses an undeniable knowledge of human anatomy and, through it, he carves an image that tears at the soul, presenting the suffering that Jesus endured without sparing the slightest detail.
The face, marked by pain, with prominent cheekbones, gaunt features, and an expression somewhere between dejection and disbelief, conveys both acceptance and anguish. It stirs a feeling of devotion, of closeness and compassion, in the faithful—who contemplate a Jesus who, though the Son of God, is portrayed as one of them, human and subjected to the greatest torments.
His hair falls in long locks, some separated to suggest movement, and the beard is slightly parted at the center—features also found in other Ecce Homo sculptures by Gavilán.
The body, bound to the column in a slight twist, is an anatomical study of perfect proportions. The arms highlight strong and muscular shoulders and forearms, just as the legs exhibit well-shaped thighs and calves. The hands, with fine and slender fingers, rest crossed over each other on the column.
The loincloth covering Jesus is, in itself, a sculptural masterpiece, composed of multiple folds falling in all directions.
All of this is pure beauty—but when we behold Christ’s back, the dramatic intensity is such that it is nearly impossible to remain unmoved.
The back, completely flayed, raw, and torn by the lashes received, evokes visceral pain.
Gavilán does not conceal the horror; rather, he transmits the terror that Jesus had to endure on the road to Calvary with raw power, even masterfully sculpting the exposed ribs.
Absolutely every element of this sculpture speaks of fascinating quality and craftsmanship.
The Ecce Homo and Christ at the Column sculptures in the Church of San Agustín in Lima are comparable to this piece.
His most iconic work is The Archer of Death, where, just as in our sculpture, Gavilán delivers a masterful lesson in anatomy. This representation of Death with a scythe presided over the Holy Thursday processions of the Augustinian fathers until shortly after 1824.
As we read in the entry on Baltasar Gavilán written by historian Luis Eduardo Wuffarden for the website of the Real Academia de la Historia Hispánica:
"A mestizo artisan according to traditional accounts, Gavilán is said to have been a fugitive from justice who sought refuge in the Convent of San Francisco around 1734–1738. He was required to carve an equestrian sculpture of King Philip V to receive a pardon from Viceroy García Sarmiento de Sotomayor. This piece was placed atop the arch of the stone bridge over the Rímac River but was destroyed when it collapsed during the 1746 earthquake.
During his time in San Francisco, Gavilán reportedly dedicated himself to carving nativity figures and a celebrated Virgin of Sorrows, which could be the one still housed today in the Franciscan church. According to the same legend, the artist died in 1753 after drunkenly entering his room and confronting his own newly completed sculpture of Death, depicted as an archer skeleton, commissioned by the Convent of San Agustín.
His work is characterized by a stark realism that defied the conventions imposed by Spanish masters of the previous century, representing a decisive renewal for the Lima school of sculpture in his time."
Reference Bibliography:
https://historia-hispanica.rah.es/biografias/19013-baltasar-gavilan
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Attributed to Baltazar Gavilán (Peru, 18th century)
"Christ Bound to the Column"
Carved, polychromed, and gilded wooden sculpture, with glass eyes. On its original carved and gilded wooden base.
Column with two silver ex-votos.
71 x 32 x 31 cm.
Gavilán is particularly renowned for his sculptures of Ecce Homo. We are possibly looking at one of the most impressive, raw, and dramatic sculptures we have ever presented in our auctions.
The sculptor’s skill is divine; he possesses an undeniable knowledge of human anatomy and, through it, he carves an image that tears at the soul, presenting the suffering that Jesus endured without sparing the slightest detail.
The face, marked by pain, with prominent cheekbones, gaunt features, and an expression somewhere between dejection and disbelief, conveys both acceptance and anguish. It stirs a feeling of devotion, of closeness and compassion, in the faithful—who contemplate a Jesus who, though the Son of God, is portrayed as one of them, human and subjected to the greatest torments.
His hair falls in long locks, some separated to suggest movement, and the beard is slightly parted at the center—features also found in other Ecce Homo sculptures by Gavilán.
The body, bound to the column in a slight twist, is an anatomical study of perfect proportions. The arms highlight strong and muscular shoulders and forearms, just as the legs exhibit well-shaped thighs and calves. The hands, with fine and slender fingers, rest crossed over each other on the column.
The loincloth covering Jesus is, in itself, a sculptural masterpiece, composed of multiple folds falling in all directions.
All of this is pure beauty—but when we behold Christ’s back, the dramatic intensity is such that it is nearly impossible to remain unmoved.
The back, completely flayed, raw, and torn by the lashes received, evokes visceral pain.
Gavilán does not conceal the horror; rather, he transmits the terror that Jesus had to endure on the road to Calvary with raw power, even masterfully sculpting the exposed ribs.
Absolutely every element of this sculpture speaks of fascinating quality and craftsmanship.
The Ecce Homo and Christ at the Column sculptures in the Church of San Agustín in Lima are comparable to this piece.
His most iconic work is The Archer of Death, where, just as in our sculpture, Gavilán delivers a masterful lesson in anatomy. This representation of Death with a scythe presided over the Holy Thursday processions of the Augustinian fathers until shortly after 1824.
As we read in the entry on Baltasar Gavilán written by historian Luis Eduardo Wuffarden for the website of the Real Academia de la Historia Hispánica:
"A mestizo artisan according to traditional accounts, Gavilán is said to have been a fugitive from justice who sought refuge in the Convent of San Francisco around 1734–1738. He was required to carve an equestrian sculpture of King Philip V to receive a pardon from Viceroy García Sarmiento de Sotomayor. This piece was placed atop the arch of the stone bridge over the Rímac River but was destroyed when it collapsed during the 1746 earthquake.
During his time in San Francisco, Gavilán reportedly dedicated himself to carving nativity figures and a celebrated Virgin of Sorrows, which could be the one still housed today in the Franciscan church. According to the same legend, the artist died in 1753 after drunkenly entering his room and confronting his own newly completed sculpture of Death, depicted as an archer skeleton, commissioned by the Convent of San Agustín.
His work is characterized by a stark realism that defied the conventions imposed by Spanish masters of the previous century, representing a decisive renewal for the Lima school of sculpture in his time."
Reference Bibliography:
https://historia-hispanica.rah.es/biografias/19013-baltasar-gavilan
Vanitas, Parables and Devotions
Sale Date(s)
Lots: 1-195
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From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
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