A wonderfully characterful pair of carved oak satyr terms, probably Flemish and dating to the early 17th century, circa 1600–1630.
Each figure is carved in high relief as a male satyr sounding a long curved horn, his human form giving way to powerful animal-like legs, beneath a pierced basket overflowing with fruit and flowers. The two figures were conceived as true pendants, facing in opposing directions, and were almost certainly originally intended to flank a central element.
The imagery belongs to the Renaissance and early Baroque Bacchic world of satyrs, music, fruit, fertility and abundance. What is particularly appealing about these carvings, however, is their vigorous and almost naïve interpretation of that sophisticated decorative language. Rather than the polished classicism encountered on the most elaborate Flemish furniture of the period, these figures have wonderfully individual faces, exaggerated bodies and a direct, vernacular quality. They are full of movement, humour and life.
Despite this naïve character, the carving is ambitious. The figures project strongly from their oak backboards, with considerable depth and undercutting around the bodies, arms and horns, while the baskets above are pierced and deeply worked. The backs are flat and substantial and retain a number of old fixing holes, indicating that these were originally applied elements rather than independent sculptures. They were probably made for a substantial piece of furniture such as a cupboard or buffet, although an architectural origin is also possible.
Their survival together as an opposing pair is particularly attractive. Removed from their original setting, they have become wonderfully eccentric sculptural objects in their own right.
Origin: Probably Flemish Date: Early 17th century, circa 1600–1630 Material: Carved oak Dimensions: approximately 51 cm high × 3 cm across the back × 11 cm maximum depth.
Condition: The pair retain a richly aged surface with wear consistent with their considerable age and former use as applied furniture or architectural elements. There is some splitting to the oak at the base of one figure and an old chip/loss to the other, both clearly shown in the close-up photographs. Old fixing holes and age-related marks remain to the backs. The small pale deposits visible in some photographs are beeswax from waxing the oak. Overall, the pair retain a strong and highly characterful appearance.
