Josep ESPELTA GRACIOT (1901-1973) - Crucified Christ - 65 cm - Wood - 1940-1950

Josep ESPELTA GRACIOT (1901–1973) – Christ on the Cross, 1946 – Carved boxwood Christ on a walnut cross – Signed and documented. Important Christ on the Cross created and signed by the sculptor Josep ESPELTA GRACIOT (1901–1973), dated 1946, a superb example of Catalan religious imagery from the period immediately after the Spanish Civil War. The work is executed in wood carving of boxwood, a material particularly prized for its hardness, fine grain, and capacity to allow very precise carving. The Christ is presented on an elegant, sober walnut cross, whose dark tone creates a marked contrast with the warm, natural tone of the sculpture. The piece appears signed and dated by the artist himself, clearly legible on the loincloth: “J. ESPELTA – 1946” A circumstance especially relevant for its identification, dating, and value as a collectible piece. An unusually rare opportunity to acquire a signed and dated religious work by Josep Espelta Graciot, made in 1946, in the midst of the postwar reconstruction of Catalan religious imagery. Its boxwood carving, the walnut cross, the expressive quality of the Christ, and, above all, the preservation of professional restoration documentation transform the set into a piece of particular interest for collectors of Spanish sculpture, religious art, and Catalan imagery of the 20th century. Cross: approximately 61 × 32 cm Christ: approximately 37 × 25 cm Christ: boxwood wood carved. Cross: walnut wood. The contrast between the dark walnut of the cross and the warm tone of the boxwood gives the whole a particularly elegant presence. Professionally documented restoration An especially interesting aspect of this piece is that its professional conservation and restoration record is preserved and will be handed with the work. The documentation expressly identifies the crucifix as the work of Josep Espelta Graciot (1901–1973) and specifies materials and dimensions. Before intervention, the sculpture showed dirt buildup, partial losses in some fingers, and the arms were partially detached. The record, however, notes that the wood was generally well preserved and free of wood-boring insects. The conservation work included gluing the two arms, attaching the figure to the cross, surface cleaning, nutration/protection of the wood, and finally applying a protective layer of shellac. The cross was also cleaned and protected. Therefore, the existing restorations are not hidden but are fully documented, forming part of the conservation history of the work. Presently the piece shows a magnificent overall presence, preserving the characteristics typical of a religious sculpture of about 80 years of age. Beyond its religious or decorative function, this sculpture constitutes an interesting testimony of a specific moment in Spanish artistic history. Made in 1946, just a few years after the end of the Civil War, it belongs to the period during which sculptors and imagers like Espelta actively participated in the recovery of religious sculpture destined for churches, chapels, and sanctuaries. Its aesthetics combine anatomical realism, spirituality, and sobriety—characteristics representative of a significant portion of Catalan imagery of the mid-20th century. The cross also retains the characteristic tablet or titulus placed over Christ’s head, with the traditional inscription associated with the Crucifixion represented in various scripts. This element adds even more personality to the overall piece and reinforces its historical and devotional character. Beyond its religious or decorative function, this sculpture constitutes an interesting testament to a specific moment in Spanish art history. Made in 1946, just a few years after the end of the Civil War, it belongs to the period in which sculptors and imagers like Espelta actively participated in the recovery of religious sculpture for churches, chapels, and sanctuaries. Its aesthetics combine anatomical realism, spirituality, and sobriety, representing features of a significant portion of Catalan imagery from the mid-20th century. Good overall condition considering its age. Shows normal signs related to the passage of time and its original use as a religious object. Old partial losses are observed in some fingers and restorations at the arm junctions, all of which are recorded in the professional documentation accompanying the work. The wood presents an attractive hue and patina, with many carving details perfectly visible. It is advised to study the photographs carefully, as they are a fundamental part of the conservation status description. Josep Espelta Graciot (1901–1973) was a Catalan sculptor and imaginer especially renowned for his production of religious sculpture in the decades following the Spanish Civil War. His career is closely linked to the intense process of recovery and reconstruction of religious heritage undertaken during the 1940s and 1950s, when numerous churches and sanctuaries had to replace images lost or destroyed during the conflict. Espelta created numerous religious images for churches and sanctuaries, becoming one of the names associated with the renewal of Catalan religious imagery of the 20th century. The date of this Christ, 1946, is therefore particularly significant: it belongs squarely to that early postwar period of religious reconstruction and is practically contemporary with some of the best-known religious interventions carried out by Espelta during those years.

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