Spanish Renaissance walnut model, Felipe Vigarny

A Spanish Renaissance walnut monument maquette
attributed to Felipe Vigarny de Borgona [El Borgoñón] (c.1475-1542)
probably first half 16th century
Carved with the arms and a portrait bust of the Pereda family, with lift off top.
height 34in (86.5cm); width 17 1/2in (44cm); depth 14in (35.5cm)
Provenance:
Sold Christie's, London, 28-29 May 1992, lot E17.
Property of a Collector, Southern California.

Footnote:
Felipe Vigarny de Borgona (c. 1475 – 10 November 1542), also known as Philippe de Bourgogne, Felipe Biguarny or Felipe de Borgoña and sometimes referred to as El Borgoñón (the Burgundian), was a sculptor thought to be born in Burgundy but who actually hailed from Langres, Champagne, France. He made his career in Spain and was one of the leading architects and sculptors of the Spanish (Castille) Renaissance, working in both stone and wood, along with Juan de Valmaseda and Diego Siloe.

Vigarny’s work shows Flemish, Burgundian and Italian Renaissance influences. He gained great prestige working in various parts of Spain which led to his becoming the master sculptor and carver of the celebrated walnut stalls of the Burgos Cathedral between 1507 and 1512. The two largest chimera and grotesque relief panels on the piece offered here share strong similarities with the series of small panels behind the stalls of the cathedral. (see P. Lafond, Philippe de Bourgogne [Felipe Vigarny], Burlington Magazine, XV, 1909, pp. 285-297). Vigarny’s work can also be seen in the main altarpiece of the Toledo Cathedral, as well as contributions to the Cathedral of Santo Domingo de la Calzada, the Church of St. Thomas, Haro, the Palencia Cathedral and the University of Salamanca, among other landmarks. He also played a role in creating many important works for the Crown of Castile.
Condition Report: With a deep, rich nutty brown color to timber. Sensitively carved and highly detailed. General marks, nicks, scratches, cracking, loosening to molding, scattered minor losses and wear commensurate with age. Top section lifts off as stated. More notable losses to edges of cornice. Separations to joints. Cracking to base moldings. With two runner boards to underside.