Saint Crispin or San Crispiniano, Tyrol, mid-18th century


Sculpture depicting a standing male character, in a dynamic pose, which rests his weight on the right leg, the opposite one slightly advanced, to create an evenment that makes the body assume a spiral-shaped position. The arms are open, almost in an attitude of amazement that emphasizes the expression on the face, with wide open eyes and open mouth. The head is turned to his left, slightly bent towards the shoulder, long hair and a thick beard finely chiseled. He wears a tunic with rolled up sleeves, around his waist he wears an apron, in whose belt a work tool is held. At the foot of the shoes fastened with a buckle; resting on a small circular base. In carved and white lacquered wood, some details such as the hems of the garments and the buckles.

Dimensions: 94 x 50,5 x 39 cm ( 37 x 19,9 x 15,4 in )


Historical-stylistic analysis:

The sculpture seems to depict a San Crispino or a San Crispiniano di Soissons, two holy martyrs considered protectors of shoemakers, for the profession they carried out during the evangelization mission in Gaul. The two saints are in fact usually depicted intent on their work, as well as our sculpture, with the clothes and tools of a craftsman, together with the fact that he wears shoes on his feet.

Although unable to attribute a paternity to the work described, the sculpture seems to be attributable to the Tyrolean context of the mid-eighteenth century, showing affinity with some works by Ingenuin Lechleitner (1676-1731), in particular comparisons are possible with the sculptures created for the Tyrolean parliament in Innsbruck, Austria. Although these are profane, the contrast between the white surface and the details such as the edges of the gold-finished garments is similar.

To indicate a production linked to the Nordic taste there is a comparison with the work of another artist, located far to the north, it is Johann Joseph Imhoff (1739-1802) sculptor from Cologne, author of works for the city cathedral, including a Saint Eribert who has a similar modality to ours in carving and lacquering the wood in white and partially gilding it.

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