holding a ewer in his right hand and a reed in his left, clad in a long gown beneath the lambskin cloak, on later hexagonal base.

RELATED LITERATURE

Europäische Barockplastik am Niederrhein...(exh.cat.), Kunstmuseum Düsseldorf, 4 Ap๊ril - 20 June 1971, nosജ.231 and 283.

La sculpture au siècle de Rubens(exh.cat.), Musée d'art Ancien, Brussels, 15 July - 2🎉 October 1977, no.92, pp.130-131.

General wear, minor losses and long vertical age cracks throughout (see catalogue illustration). The left hand is carved separately. There are some repaired age cracks on the hands and some restored breaks on the fingers. Repair to big toe on proper left and a wax fill on right foot with repair. Some parts of feet carved separately. There is a small wax fill on his proper right cheek. There is a repaired break on the neck of the ewer and a small crack on its foot. There is a repair on his proper right chin area. There is a wood panel for support added to the reverse on the left side. The piece is also composed of separate pieces of wood joined together rather than one block. Beautiful detail and carved by a skilled sculptor.
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Compare the oak figures made for the Cathedral O. L. Vrouwen, Antwerp and for the Church of Saint Andreas, Antwerp by Willem Kerricx and Ludovicus Willemsens respectively (Niederrhein, op.cit., figs.160 and 161, cat.nos. 231 and 283). Kerricx's Saint John, in particular, has a similar facial type, hands and body type. Compare also the terracotta figure of Saint James the Greater by Kerricx (Rubens, op.cit., no.92).

There was apparen🌌tly a monopolistic consortium of sculptors in Antwerp toward the end of the 17th century 🅘which makes it difficult to distinguish particular sculptors from one another.