[...] To carry out his sculpture, our ymagier could have been inspired by a famous model now disappeared which, as tends to demonstrate it an important corpus of Burgundian saints of close constitutions, would have met at the end of the 15th century a considerable success in the region. To name but a few of them attest to this, the Saints Antoine of the church of Poligny and that of Cuiseaux.
On the other hand, from a stylistic point of view, our sculpture differs from the majority of the works of this corpus by the quality of its execution, reinvesting with skill and intensity some of the most beautiful formulas of the yamgiers of the Grand Dukes. Thus the vigor of the face of our Saint Anthony, with the wrinkled forehead and the severe mouth, is not without evoking that of the facies attributed to Claus de Werve and his workshop, like in the sumptuous Saint Paul of Poligny, today kept at the Metropolitan Museum of New York.
However, the very refined volumes of the silhouette of our saint, as well as the sober fall of the heavy folds of his drape, echo more those of an extraordinary abbot in Benedictine habit of the second quarter of the fifteenth century as well as those of certain mourners from the tomb of Jean sans Peur who come to life with simplicity and reserve in the second half of the 15th century under the chisel of Antoine Le Moiturier.
Such a synthesis can be seen in two superb sculptures from the parish church of the small town of Lamayelle in Côte-d'Or, depicting a Saint Jacques and a Saint Antony. The latter presents itself from a stylistic point of view as the perfect reflection of our sculpture. Both offer amateurs and enthusiasts of medieval statuary, a brilliant overview of the intensity and lavishness of the creations associated with this Golden Age of Burgundy sculpture.
33 000 €