58 - German School; circa 1500.

German School; circa 1500. “Allegory of Motherhood.” Carved boxwood. Measurements: 18 x 5 x 4 cm, This sculptural composition, featuring a female figure holding a child with faun-like features in her arms, presents a unique combination of human and mythological elements, linked to the figurative repertoire of classical origin that gained special relevance in Central European art during the transition to the Renaissance. From a stylistic perspective, the work belongs to the Germanic sculptural tradition of the transition from the Late Gothic to the Renaissance. The stylization of the figures and the delicacy of their treatment reflect a sensibility still rooted in late-Gothic forms, while the incorporation of mythological motifs demonstrates the gradual assimilation of classical models. This coexistence of artistic languages characterizes much of Central European sculptural production around 1500. The iconography of the group finds its roots in the depiction of families of satyrs and nymphs, a subject that became particularly widespread in Renaissance art. In the Germanic world, this theme is documented from the early 16th century, as evidenced by Albrecht Dürer’s engraving *The Satyr’s Family*, dated 1505, and the painting on the same subject by Albrecht Altdorfer from 1507. In these compositions, the mythological beings take on a familial and protective character, in keeping with the Renaissance reinterpretation of the medieval tradition of wild men and women. Of particular significance is the engraving *The Family of Satyrs* by Benedetto Montagna, dated around 1515–1520, in which a human-like female figure is depicted accompanied by a small satyr with goat-like limbs. The choice of boxwood is particularly significant, as its high density and fine grain allow for highly precise carving. This material was especially prized in Germanic regions for the creation of small sculptures, reliefs, and objects intended for both private devotion and the world of collecting. Due to its unique iconography, small size, and the quality of its craftsmanship, the piece is an interesting example of early 16th-century Germanic sculpture.