Null Virgin and Child called Sedes Sapientiae in walnut carved in the round with…

Description

Virgin and Child called Sedes Sapientiae in walnut carved in the round with traces of polychromy. Mary is seated on a throne with armrests formed by two arches; she holds her Son seated on her lap, holding him with her two hands, one placed on the Child's left leg and the other on the right side of his hips; she is wearing a veil that forms a very rounded outline around her face. The concentric folds of her garment are in successive waves on her chest and end with parallel falls on her arms; back with a niche to collect a relic. Auvergne, Limagne workshop, first third of the 13th century H. 79 cm (wormholes and missing parts visible) Provenance : Former Chéron collection Former Louis-Pierre Bresset collection, Château de la Rochelambert, Haute-Loire. What is original in this majesty is the juvenile character of the Virgin. Her veil drawing the oval outline of her face gives her a form of superiority; but it also reinforces the juvenile aspect of her features, the almond-shaped eyes and the small, thin and very slightly smiling mouth. This gives not a fright in front of the distance felt but rather a tender confidence which will characterize the relation between this young mother, her Son and the faithful who confide in her. Art historians speculate that there were workshops, particularly around Clermont-Ferrand, which produced some of the Cantal majesties. This one shares with the Virgin of Notre-Dame d'Usson, (fig a), some common points: the place of the hands, the folds on the thorax; but also with Notre-Dame d'Espinasse (fig b) where we find apart from the identical structuring of the folds and the positioning of the hands of the Virgin and of Christ, a close structure for the throne with the arcature armrests. Related works: Notre-Dame d'Usson, kept in the Roger-Quillot Art Museum in Clermont-Ferrand and coming from the Saint-Maurice church in Usson (Puy-de-Dôme). Notre-Dame d'Espinasse, kept in the church of Saint-Blaise in Aubusson-d'Auvergne (Puy-de-Dôme). Bibliography: J. Liévaux-Boccador, E. Bresset, Statuaire médiévale de collection, Milan, 1972, volume 1, p 112

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Virgin and Child called Sedes Sapientiae in walnut carved in the round with traces of polychromy. Mary is seated on a throne with armrests formed by two arches; she holds her Son seated on her lap, holding him with her two hands, one placed on the Child's left leg and the other on the right side of his hips; she is wearing a veil that forms a very rounded outline around her face. The concentric folds of her garment are in successive waves on her chest and end with parallel falls on her arms; back with a niche to collect a relic. Auvergne, Limagne workshop, first third of the 13th century H. 79 cm (wormholes and missing parts visible) Provenance : Former Chéron collection Former Louis-Pierre Bresset collection, Château de la Rochelambert, Haute-Loire. What is original in this majesty is the juvenile character of the Virgin. Her veil drawing the oval outline of her face gives her a form of superiority; but it also reinforces the juvenile aspect of her features, the almond-shaped eyes and the small, thin and very slightly smiling mouth. This gives not a fright in front of the distance felt but rather a tender confidence which will characterize the relation between this young mother, her Son and the faithful who confide in her. Art historians speculate that there were workshops, particularly around Clermont-Ferrand, which produced some of the Cantal majesties. This one shares with the Virgin of Notre-Dame d'Usson, (fig a), some common points: the place of the hands, the folds on the thorax; but also with Notre-Dame d'Espinasse (fig b) where we find apart from the identical structuring of the folds and the positioning of the hands of the Virgin and of Christ, a close structure for the throne with the arcature armrests. Related works: Notre-Dame d'Usson, kept in the Roger-Quillot Art Museum in Clermont-Ferrand and coming from the Saint-Maurice church in Usson (Puy-de-Dôme). Notre-Dame d'Espinasse, kept in the church of Saint-Blaise in Aubusson-d'Auvergne (Puy-de-Dôme). Bibliography: J. Liévaux-Boccador, E. Bresset, Statuaire médiévale de collection, Milan, 1972, volume 1, p 112

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Italian school; late sixteenth century. "Madonna and Child". Oil on canvas. Relined. Measurements: 121 x 94 cm; 123 x 105 cm (frame). In this canvas the author represents a scene very repeated in the History of Art especially since the Renaissance: the Virgin with the Child Jesus in her arms. It was a theme widely treated during the Renaissance and Baroque periods, since it emphasized the human aspect of Christ, in the innocence and happiness of his childhood, in dramatic contrast with his destiny of sacrifice. Thus, the Savior appears represented as a child of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose face shows, in its seriousness, the knowledge of the bitter destiny of her son. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between the two, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production. The theme of the Virgin represented with the Child Jesus, and more specifically with him on her lap, seated or standing, has its origin in the Eastern religions of Antiquity, in images such as that of Isis with her son Horus, but the most direct reference is that of the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to reveal a relationship of affection, beginning in the Gothic period. From then on, the figures will acquire movement, approaching each other, and finally the concept of the throne will disappear and with it the secondary role of the Virgin. In this way, the image will become an example of the love between Mary and her Son, an image of tenderness, close, designed to move the spirit of the faithful.

Estim. 2 000 - 2 500 EUR

Italian school; late seventeenth century. "Madonna and Child". Oil on canvas. Measurements: 27 x 23 cm. In this canvas the author represents a scene very repeated in the History of Art, especially since the Renaissance: the Virgin with the Child Jesus in her arms. It was a theme widely treated during the Renaissance and the Baroque, since it emphasized the human aspect of Christ, in the innocence and happiness of his childhood, in dramatic contrast with his destiny of sacrifice. Thus, the Savior appears represented as a child of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose face shows, in its seriousness, the knowledge of the bitter destiny of her son. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between the two, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production. The theme of the Virgin represented with the Child Jesus, and more specifically with him on her lap, seated or standing, has its origin in the Eastern religions of Antiquity, in images such as that of Isis with her son Horus, but the most direct reference is that of the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to reveal a relationship of affection, beginning in the Gothic period. From then on, the figures will acquire movement, approaching each other, and finally the concept of the throne will disappear and with it the secondary role of the Virgin. In this way, the image will become an example of the love between Mary and her Son, an image of tenderness, close, designed to move the spirit of the faithful.

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