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Medieval Sculptures
The Collection van der Velden - Teurlings: Aesthetical with intense meaning and historical value.
Unknown Order Saint Dominic (?). Northern, Western or Central Europe (1260-1390). Oak with remains of several layers of polychromy. Size: 100 x 25 x 20 cm.
This robust saint is very simply carved, with no movement in the figure, and little pleating. In the cloak on the left a series of vertical waves, shallow, to indicate pipefolds. The saint has a long face with pointed chin. The eyebrows and large eyes lie flat in his face. Above the small, protruding, high-set ears, the dark hair of a tonsure is shown as a slightly thicker rim around the head.
RESURRECTED CHRIST. Central Europe (?), 1300-1400. Limewood with remains of several layers of polychromy. Size: 99 x 26 x 19 cm.
The resurrection of Christ is not described in the Bible, but on the Sunday after his entombment, Mary of James, Mary Salome and Mary Magdalene find the tomb empty. An angel tells them that Christ has risen (John 19:38-42, Mark 16:1-8). From the fourth century on, the resurrection is also depicted. Medieval images of the Risen Christ like this one were used in the liturgy around Easter. They were then placed in the Holy Sepulcher in the church and raised through a hole in the vault at Ascension.
SEATED MARY WITH CHILD. Northern or Central Europe (?), 1250-1325. Willow wood, with ancient polychromy. Size: 50 x 30 x 14 cm.
The type of the enthroned Mary with the Christ child in her lap originated originated from the Byzantine Mary type of the Nikopoia (worker of victory). This image type is known in the West known as Sedes Sapientiae (seat of wisdom) and is the most prevalent in Western art from the eighth to the 13th century. From that time on, the affection between mother and child becomes the main motif.
THE REFUSAL OF JOACHIM'S SACRIFICE. Northern Germany, third quarter 15th century. Oak wood, original polychromy. Size: 62 x 50.5 x 12 cm.
Mary's parents, Joachim and Anna, are not mentioned in the Bible, but they are mentioned in the apocrypha (Christian writings that are not part of the canon of the Bible). In them is narrated how the sacrifice of Joachim in the temple in Jerusalem is refused because he and Anna are childless. Joachim then retreats into the wilderness to fast. Both scenes are depicted here.
ANNA AT THREE. Germany, Middle Rhine area (?), last quarter of the 15th century. Hardwood, ancient polychromy. Size: 55.5 x 44 x 20 cm.
The worship of Anna-three, Anna with her daughter Mary and her grandson the Christ child, was in the late Middle Ages widespread. Mother Anna was invoked in cases of childlessness. In this somewhat folksy image, the great Anna sits on a widespread cushion on a bench. She holds the naked Christ child, who steps from her lap onto the hand of the smaller Mary standing on the left. Anna holds his lefthand, her right hand is around his little belly. The Christ child has his hand on Mary's shoulder and she in turn supports it at the top of her back.
CANDLESTICK-CARRYING ANGEL I. Upper Bavaria, surroundings Erasmus Grasser, 1490-1500. Lime wood. Size: 41.5 x 21 x 14 cm.
Although the candlesticks and hands of the now wingless angel were once renewed, they also must have originally stood on an altar left and right with burning candles in their candlesticks. The angel kneels down mirror-like and supports the candlestick on the knee.
CANDLESTICK-CARRYING ANGEL II. Upper Bavaria, surroundings Erasmus Grasser, 1490-1500. Lime wood. Size: 41.5 x 23 x 16 cm.
Although the candlesticks and hands of the now wingless angel were once renewed, they also must have originally stood on an altar left and right with burning candles in their candlesticks. The angel kneels down mirror-like and supports the candlestick on the knee.
Floating Angel I. Germany, circa 1500. Lime wood (?), polychromed. Size: 28 x 31 x 12 cm, 591 gr.
It is clear that this angel was carrying something, but from the arms held parallel, it would seem that this was not a candlestick. These are usually held with one hand at the underside and one hand on the stem. The angel floats upward with outstretched hands. The wings and hands have probably been renewed: these are very graceful, while the rest of the figurine is more crudely elaborated.
Floating Angel II. Germany, circa 1500. Oak wood (?), polychromed. Size: 28 x 28 x 15.5 cm, 758 gr.
It is clear that this angel was carrying something, but from the arms held parallel, it would seem that this was not a candlestick. These are usually held with one hand at the underside and one hand on the stem. The angel floats upward with outstretched hands. The wings and hands have probably been renewed: these are very graceful, while the rest of the figurine is more crudely elaborated.
Apostle John. Germany, circa 1500.Lime wood (?), remains of several layers of polychromy. Size: 20 x 14 x 7 cm.
The small bust probably represents the Apostle John. He is always portrayed as a youth. The book in his left hand
left hand also characterizes him as an evangelist. With his right hand he makes a speaking gesture. His face with strong pointed nose and pointed chin is surrounded by a full head of curly hair, long ringlets reaching down to his shoulders. Johannes'
cloak is closed on his chest and wrapped in round folds around his arms beaten. Beneath it is a robe with long sleeves. The figure is one with the profiled hexagonal pedestal.
The Death of Mary. Niederbayern, ca. 1520-1530. Lime wood, largely original polychromy. Size: 93 x 85.5 x 14.5 cm.
In the late Middle Ages, the death of Mary was seen as an example of painless dying. Mary could be depicted lying on her deathbed or kneeling among the apostles, as here. The variant with the kneeling Mary spread from Bohemia to Germany and Austria and adjacent areas from the end of the 14th century.
Mary with Child. France (?), Meuse region (?), last quarter of 13th century (?). Unknown wood type, polychromed on linen. Size: 105 x 28 x 17 cm.
Marian types such as the so-called Ollesheimer Madonna, Cologne, circa 1260-1270, in Museum Schnütgen. Similarities are in the very slender silhouette and strong frontality. Maria carries the Christ child on her left hand. The infant holds the
round neck of her robe and has his left leg raised high. Mary holds in her right hand a scepter or flower stem while holding a fold of her cloak. Her wavy hair is covered with a veil, and she wore a now vanished crown.
Mary with Child. France (?), Rhineland (?), late 14th century. Walnut wood, polychromed. Size: 52 x 18 x 13 cm.
This Mary with Child is also characterized by a strong verticality, the high girdle of the robe, the slightly arched left hip of Mary and the raised left leg of the child. These aspects recall the Madonnas from Cologne from the late 13th century, such as the aforementioned Ollesheimer Madonna in Museum Schnütgen in Cologne, created around 1260-1270.
Mary with Child. France, late 14th century. Walnut wood, traces of polychromy. Size: 68 x 26 x 16 cm.
Compared to the previous two statues of Mary, in this statue a great development occurred, namely in naturalism and dexterity. Mary is now also looking at her child rather than the viewer. One foot of the child rests on a fold of her cloak and the other comes out just under the edge of the cloth with which his lower body is covered. He has placed his right hand on his mother's breast. Mary was possibly carrying a scepter.
Standing Mary and Child with Dove. Northeastern France, second quarter 15th century. Limestone (Euville stone), remains of several layers of polychromy. Size: 64 x 27 x 15.5 cm.
Mary looks down somewhat gravely on the Christ child playing with a bird, probably a dove. She carries the child on her right arm and holds in her left hand a white rose. The child sits with bowed legs and holds the bird by its wings with both hands.
Standing Mary with Child and Banderol. Southern Netherlands (?), France (?), ca. 1450. Lime wood, with remains of several layers of polychromy. Size: 62.5 x 21 x 16.5 cm.
Mary is crowned and wears a royal mantle, lined with ermine. She carries the Christ Child on her right hip. He sits cross-legged on her arm and holds a banderole in his left hand, on which is written a now illegible text. He points to it and looks at us with his round, smiling face. The banderole may once have read "REGINA COELI"(Queen of Heaven). The title 'regina coeli' is taken from a 12th-century Marian hymn.
Saint Peter. France, Bourgogne, Claux de Werve (c. 1380-1439) or atelier, early 15th century. Limestone, remains of original and later polychromy. Size: 46 x 16 x 13 cm.
This little Peter is among the absolute masterpieces of the collection. The saint is depicted as an apostle: barefoot and bareheaded in a long, girded robe. As a reference to his later papal status, he wears a heavy choir cap, closed with a precious agrapha. Underneath is a long-girdled robe, which falls down in supple pleats.
Weeping Mary. France, Bourgogne, Dijon (?),
surroundings Jean de la Huerta, ca. 1450. Limestone from Tonnerre (Burgundy), with remains of polychromy. Size: 115 x 44 x 24 cm.
This impressive weeping Mary was possibly part of a Holy Sepulchre group. Thick tears roll down her broad face with the small, slightly opened mouth. The corners of her outer eyes are sadly turned downward. Her right hand she holds at the level her waist and with the left hand she holds up a slip of her cloak.
St. Nicholas. Northern France, second half of 15th century. Walnut wood, polychromed. Size: 76 x 21 x 15 cm.
St. Nicholas of Myra was a historical figure who in the early 4th century was bishop of Myra in Asia Minor. Nothing else is known about his life, except that he participated in the Council of Nice in 325. In the Eastern church he has been worshipped as early as the sixth century. His worship spread to Italy and around 1000 to northern Europe. In 1097, his bones were transferred to Bari, Italy. In the Netherlands he is known as Sinterklaas.
Corpus. Central Italy, first half of 15th century. Wood. Loin cloth: linen and primer, modeled. Polychromed. Size: 45 x 45 x 5 cm.
The Christ figure is elongated, with very long, slender arms and legs and relatively large hands and feet. The head with highly stylized two-pointed beard and stylized locks of hair is slumped to the left. Christ wears the crown of thorns on his head.
Saint Sebastian. Netherlands, ca. 1500. Oak wood, traces of polychromy. Size: 89 x 32 x 20 cm.
Saint Sebastian, worshiped as early as the fourth century, is said to have died a martyr's death during the persecutions of Christians under the Roman Emperor Diocletian (244-311). This officer of the imperial bodyguard was denounced as a Christian and shot with arrows in the Colosseum at Rome. Thanks to the good care of the widow of the martyr Castulus healed. After he confronted the emperor again about his cruelty, he was clubbed to death and thrown into the Cloaca Maxima (the sewer). He was reburied ad catacumbas on the Via Appia.
Mary with Child. Northern Netherlands, Utrecht, ca. 1520. Oak wood, traces of polychromy. Size: 47 x 15 x 12 cm.
The hole under the left arm, the nail holes and remains of nails in Mary's arms and shoulders indicate that this statue once had a costly covering, under which it was almost completely hidden. In the hole was then a second forearm with a scepter fixed through the precious fabric. A fine example is the so-called Our Lady of the Krocht in Bornem, from 1594, which has retained its 19th-century covering. Both mother and child wear rich dresses embroidered with gold thread, and around Mary's shoulders is a cloak stiff with gold tendrils. The traces of the covering indicate that the very high-quality statue enjoyed great veneration after its creation.
Saint Martin and the Beggar. Northern Netherlands, Utrecht (?), late 16th century. Oak wood, traces of polychromy. Size: 34.5 x 34 x 7 cm.
Martin was born around 316. He was serving in the Roman army (in what is now France). On a cold winter day, a half-naked beggar at the city gate of Amiens requested for some alms. Martinus had no money but shared his cloak with the wretch. Shortly thereafter he had a vision, in which Christ appeared to him. Martinus went to baptize himself and he left the war service. Until his death, around 400, he was bishop of Tours. The veneration of Martin is widespread. He is represented, as here, either on horseback sharing his cloak or as a bishop.
Canopy. Southern Netherlands, second half of 15th century. Oak wood. Size: 94 x 48 x 25 cm.
The canopy most likely served as a covering of a sculpture for private devotion, such as a statue of saints or a Christmas crib. The canopies of Christmas cradles, however, have usually only two pillars, between which the crib is suspended, and this broad hexagonal canopy stands on four slender, profiled pillars. It is also quite substantial for a Christmas crib, especially in height, so it is more likely that a statue of saints or statue group may have stood beneath it.
Corpus. Southern Netherlands, ca. 1500. Domestic oak with remnants of polychromy. Size: 59 x 16 x 12 cm.
This crucifix, from which the cross, Christ's arms and a part of his left foot are missing, may have been placed in a pedestal on the altar table. Christ hangs outstretched on the cross, the right foot nailed over the left. His head is slumped to the left, his eyes closed. He wears a large crown of thorns, and he is covered with a crossed loincloth, the left slip of which winds up and the right hangs down. The loincloth is simply elaborated with parallel curved folds.
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