Saturday, June 20, 2015

Olympian deities in classical Greek and Roman religion, PSYCHE BEFORE THE TEMPLE OF VENUS

Henrietta Rae - 1859-1928
SKETCH FOR PSYCHE BEFORE THE TEMPLE OF VENUS
oil on canvas
47.5 by 76.8cm., 18½ by 30½in.

About this painting: Rae began the six-foot long Psyche Before the Throne of Venus in 1892 encouraged and criticised by her neighbour Leighton and William Blake Richmond who lent her his studio in which to paint it. She later took a studio at Norwood in south London and continued to work upon the large painting, eventually finishing it in 1894. The painting received mixed reviews at the Royal Academy exhibition of 1894 but was bought for the prestigious collection of the Scottish mining engineer George McCulloch. More


Henrietta Emma Ratcliffe Rae (30 December 1859 – 26 January 1928) was a prominent English painter of the later Victorian era.Born in Hammersmith, London, Rae began studying art at age thirteen at the Queen Square School of Art, Heatherley's School of Art, and the British Museum. She eventually gained a seven-year scholarship to the Royal Academy schools & became a frequent exhibitor at the annual Royal Academy shows, beginning in 1881.

She gained recognition and success early in her career, specializing in classical, allegorical, and literary subjects, often treated in a grand style and scale; her Psyche at the Throne of Venus (1894) measured 12 feet by 7 feet (305 by 193 cm) and contained 13 figures. Her painting, Eurydice, won medals at exhibitions in Paris and at the World's Columbian Exposition in Chicago.

In 1884 she married fellow artist Ernest Normand; but kept her maiden name after marriage, under which she'd already begun to establish her reputation. She and her husband lived in Holland Park with many other artists of the day. Their studio was constantly visited by Leighton, Millais, Prinsep, Watts, and others. 

The Normands traveled to Paris in 1890 to study at the Académie Julian with Jules Joseph Lefebvre and Jean-Joseph Benjamin-Constant. In 1897 Rae organized an exhibition of the work of women artists for the Jubilee of Queen Victoria.

Like some other women artists of her time, Rae was a supporter of feminism and women's suffrage.

RELIGIOUS ART - 17th Century Carvings from the Bible! - Saint Roch

Saint Roch or Rocco was a Christian saint, a confessor whose death is commemorated on 16 August; he is specially invoked against the plague. He may also be called Rock in English, and has the designation of St Rollox in Glasgow, Scotland, said to be a corruption of St Roch's Loch. He is a patron Saint of: dogs; and falsely accused people; among other things.

Grand Saint Roch carved and polychromed wood, hollowed back. Standing bent right leg, he holds a bell in his left hand; a pilgrim's shoulder bag, adorned with shells badge, and wearing a wide-brimmed hat with the same badge; the feeder dog is lying at his feet.

Seventeenth century H 146 cm

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RELIGIOUS ART - 17th Century Carvings from the Bible! - Paul the Apostle

Paul the Apostle , originally known as Saul of Tarsus, was an apostle (though not one of the Twelve Apostles) who taught the gospel of Christ to the first-century world. He is generally considered one of the most important figures of the Apostolic Age. In the mid-30s to the mid-50s, he founded several churches in Asia Minor and Europe. Paul used his status as both a Jew and a Roman citizen to advantage in his ministry to both Jewish and Roman audience.

Saint Apostle, Alabaster carved in the round, standing, head turned to the left, the left leg bent and forward, he holds an open book on his right arm; frowning face, straight nose, stopping at chin beard, mustache; He wears a tunic with a flap open collar and a loose coat placed on the right shoulder and back to the front in deep and broken folds; rectangular terrace. Beautiful workmanship. 

Northern France, circa 1600 H 54 cm (accidents in the left hand)

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Friday, June 19, 2015

RELIGIOUS ART - 17th Century Paintings from the Bible! - Saint Bernard of Clairvaux

St. Bernard Plate, painted in polychrome enamel with gold highlights depicted kneeling before an altar bearing his rod, on starry background

Bernard of Clairvaux (1090 – August 20, 1153) was a French abbot and the primary builder of the reforming Cistercian order. 

After the death of his mother, Bernard sought admission into the Cistercian order. "Three years later, he was sent to found a new abbey at an isolated clearing in a glen known as the Val d'Absinthe. According to tradition, Bernard founded the monastery on 25 June 1115, naming it Claire Vallée, which evolved into Clairvaux. There Bernard would preach an immediate faith, in which the intercessor was the Virgin Mary. In the year 1128, Bernard assisted at the Council of Troyes, at which he traced the outlines of the Rule of the Knights Templar, who soon became the ideal of Christian nobility.

In June 1145, Bernard traveled in southern France and his preaching there helped strengthen support against heresy.


Following the Christian defeat at the Siege of Edessa, the pope commissioned Bernard to preach the Second Crusade. The last years of Bernard's life were saddened by the failure of the crusaders, the entire responsibility for which was thrown upon him. Bernard died at age 63, after 40 years spent in the cloister. He was the first Cistercian placed on the calendar of saints, and was canonized by Pope Alexander III on 18 January 1174. In 1830 Pope Pius VIII bestowed upon Bernard the title "Doctor of the Church".

Limoges, entourage Leonard Limosin II, first quarter of the seventeenth century 
H 7 L × 5 cm 

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RELIGIOUS ART - 16th Century Carvings from the Bible! - Saint Michael

Saint Michael wooden carved in the round, polychrome and gilt. Standing,his foot on the dragon, he holds in his left hand an iron balance, and a spear in the right; he is dressed in antique with crested morion, armor festooned strapped boots with uncovered toes; molded base. 

Michael is an archangel in Judaism, Christianity, and Islam. He is mentioned three times in the Book of Daniel. The idea that Michael was the advocate of the Jews became so prevalent that in spite of the rabbinical prohibition against appealing to angels as intermediaries between God and his people, Michael came to occupy a certain place in the Jewish liturgy.


In the New Testament Michael leads God's armies against Satan's forces in the Book of Revelation, where during the war in heaven he defeats Satan. Christian sanctuaries to Michael appeared in the 4th century, when he was first seen as a healing angel, and then over time as a protector and the leader of the army of God against the forces of evil. By the 6th century, devotions to Archangel Michael were widespread both in the Eastern and Western Churches. Over time, teachings on Michael began to vary among Christian denominations.

Umbria, 1600 H 96 cm 

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07 RELIGIOUS ART - Paintings from the Bible! - Mary Magdalene

Emiliana School of the seventeenth century
Magdalene
Oil on canvas
83x110 cm

Sorry, but I could not find any useful information on the Emiliana School!

hayez, francesco madeleine péniten | religious | sotheby's pf1640lot8d9s9en:
Francesco Hayez, VENISE 1791 - 1882 MILAN
PENITENT MAGDALENE AT THE FOOT OF THE CROSS
OIL ON CANVAS
119,5 x 75,5 cm ; 47 by 29 ¾ in

Francesco Hayez (10 February 1791 – 21 December 1882) was an Italian painter, the leading artist of Romanticism in mid-19th-century Milan, renowned for his grand historical paintings, political allegories and exceptionally fine portraits. More

File:Mary Magdalene 01.jpg
Jan Polack (1435–1519)
Ascension of Mary Magdalene, c. 1500

Jan Polack Johannes (between 1435 and 1450 – 1519) was a 15th-century painter. From his nickname it is assumed that he might have been born and/or worked in Kraków. From the mid-1470s on, he lived and worked in Munich, having previously been in Franconia. In 1480 he opened his own shop in Munich, where he remained until his death. More

cabanel, alexandre mary magdalene | christian | sotheby's n09499lot8zb8qen:
Alexandre Cabanel, 1823 - 1889
MARY MAGDALENE AT THE TOMB, c. 1875
Oil on canvas
35 3/4 by 29 1/2 in., 90.8 by 74.9 cm

Alexandre Cabanel (28 September 1823 – 23 January 1889) was a French painter born in Montpellier, Hérault. He painted historical, classical and religious subjects in the academic style. He was also well known as a portrait painter. According to Diccionario Enciclopedico Salvat, Cabanel is the best representative of the L'art pompier and Napoleon III's preferred painter. More

Michelangelo Merisi da Caravaggio (1571-1610)
Magdalen in Ecstasy, c. 1606
Oil on canvas
106.5 × 91 cm (41.9 × 35.8 in)

Mary Magdalen in Ecstasy (1606) is a painting by the Italian artist Michelangelo Merisi da Caravaggio (1571-1610). There exists in at least eighteen copies, of which this version has been claimed as the most likely original. The painting was done in the few months following Caravaggio's flight from Rome after the death of Ranuccio Tommassoni on 29 May 1606, while he was in hiding on the estates of his protectors, the powerful Colonna family, and where the primary sources for his life record him painting a Magdalen. 

This revolutionary naturalistic interpretation of the legend also allowed him to capture the ambiguous parallel between mystical and erotic love, in Mary's semi-reclining posture and bared shoulder. The painting was immensely influential for future treatment of the theme by artists such as Rubens and Simon Vouet (who adopted Carvaggio's earth-bound Magdalen but reintroduced the angels), and of course Bernini and his celebrated Ecstasy of St Theresa. More

Michelangelo Merisi da Caravaggio (29 September 1571 in Caravaggio – 18 July 1610) was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on Baroque painting.

Caravaggio trained as a painter in Milan under Simone Peterzano who had himself trained under Titian. In his twenties Caravaggio moved to Rome where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for a stylistic alternative to Mannerism in religious art that was tasked to counter the threat of Protestantism. Caravaggio's innovation was a radical naturalism that combined close physical observation with a dramatic, even theatrical, use of chiaroscuro which came to be known as tenebrism (the shift from light to dark with little intermediate value).

He gained attention in the art scene of Rome in 1600 with the success of his first public commissions, the Martyrdom of Saint Matthew and Calling of Saint Matthew. Thereafter he never lacked commissions or patrons, yet he handled his success poorly. He was jailed on several occasions, vandalized his own apartment, and ultimately had a death sentence pronounced against him by the Pope after killing a young man, possibly unintentionally, on May 29, 1606. He fled from Rome with a price on his head. He was involved in a brawl in Malta in 1608, and another in Naples in 1609, possibly a deliberate attempt on his life by unidentified enemies. This encounter left him severely injured. A year later, at the age of 38, he died under mysterious circumstances in Porto Ercole in Tuscany, reportedly from a fever while on his way to Rome to receive a pardon.

Famous while he lived, Caravaggio was forgotten almost immediately after his death, and it was only in the 20th century that his importance to the development of Western art was rediscovered. More

Peter Paul Rubens (1577–1640)
S. Mary Magdalene in Extasy, c. between 1619 and 1620
Oil on canvas
Height: 295 cm (116.1 in). Width: 220 cm (86.6 in).
Palais des Beaux-Arts de Lille

According to a legend popular in Caravaggio's time, after Christ's death his faithful female disciple Mary of Magdala moved to southern France, where she lived as a hermit in a cave at Sainte-Baume near Aix-en-Provence. There she was transported seven times a day by angels into the presence of God, "where she heard, with her bodily ears, the delightful harmonies of the celestial choirs." More

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England. More



File:Bernardino Campi - Mary Magdalene - Google Art Project.jpg
Bernardino Campi (1522 - 1590)
Mary Magdalene
Oil on canvas
Height: 665 mm (26.18 in). Width: 572 mm (22.52 in).
Art Gallery of New South Wales

Bernardino Campi (1522–1591) was an Italian Renaissance painter from Reggio Emilia, who worked in Cremona. In Cremona, his extended family were the main artistic studios. Giulio Campi and Antonio Campi, half-brothers, were distant relatives of Bernardino; the latter is generally considered the most talented of the family. All were active and prominent painters locally. Influences on Bernardino's are likely diverse, including those from local Cremonese such as Camillo Boccaccino, to artists from neighboring regions such as Correggio, Parmigianino and Giulio Romano.

Bernardino was commissioned by Vespasiano Gonzaga to lead a team of artists including Pietro Martire Pesenti in the interior decoration, including frescoes by Bernardino, of the Palazzo del Giardino in Sabbioneta, near Mantua.

Among his pupils were Giovanni Antonio Morandi (active 1585), Andrea Mainardi, and Pietro Martire Pesenti, both active in the Palazzo of Guastalla. More

Roman School, 18th century THE PENITENT MAGDALENE oil on canvas, unframed 48.5 by 65.2 cm.; 19 1/4  by 25 5/8  in.:
Roman School, 18th century
THE PENITENT MAGDALENE
oil on canvas, unframed
48.5 by 65.2 cm.; 19 1/4  by 25 5/8  in

Mary Magdalene in the desert, antique carved basswood panel. The saint, penitent kneels in a cave, untied hair, wiping her tears with one hand, holding a whip in the other; a crucifix, books, a skull and the ointment jar are laid on the rock beside her; landscape in the distance by a crevice; cave sheltered by a roof, framed by trees with flowers in the foreground. 

Southern Germany, first half of the sixteenth century H 44 L 31.7 cm × 1 

Style of this panel, deeply worked, can attach the to that of the 
so-called school of sculpture of the Danube. Place aucadre devolved natural scene with tree trunks visible roots, rocks, a rugged surface is a predominant effect and plays an essential role in the representation of the subject. The sculptor has built a "window" into the natural environment of the sant, half-opening into a distant landscape. 


Many painters, printmakers and sculptors of the Danube Region, were followers of the master of Regensburg, and were left free rein to their imagination by giving this invasive vegetation presence. The fantastic character that the works of this school give nature later inspired the German Romantics. More

Images are copyright of their respective owners, assignees or others.

RELIGIOUS ART - 16th Century Carvings from the Bible! - Saint Sebastian

St. Sebastian carved basswood rondebosse Standing, slender canon, the young saint is leaning against a tree stripped, one arm raised, the other from behind a ranch; hair with wavy locks falling on the top of the shoulders; loincloth tied down with fall on the right hip; fixing ring back. 

Saint Sebastian (died c. 288) was an early Christian saint and martyr. He was killed during the Roman emperor Diocletian's persecution of Christians. He is commonly depicted in art and literature tied to a post or tree and shot with arrows. Despite this being the most common artistic depiction of Sebastian, he was, according to legend, rescued and healed by Irene of Rome. Shortly afterwards he criticized Diocletian in person and as a result was clubbed to death.[1] He is venerated in the Catholic and Orthodox Churches.

Southern Germany, Ulm, around 1500/1510 H 60.4 cm 

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RELIGIOUS ART - 16th Century Carvings from the Bible! - St. Anne Trinitarian

St. Anne Trinitarian, carved walnut, carrying the Virgin Mary on her right side, while Mary holds the Christ Child in her  arms. Face of Anne made of fine lines, framed by the veil and wimple; she is clothed in a long robe and a coat that tails around the forearms and back on the front in deep and angular folds bunk V. 

Brabant, Brussels, around 1510. H 36.5 cm 

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RELIGIOUS ART - 16th Century Carvings from the Bible! - Saint Marguerite the Virgin.

Saint Marguerite the VirginAccording to the version of the story in Golden Legend, she was a native of Antioch, and she was the daughter of a pagan priest named Aedesius. Her mother having died soon after her birth, Margaret was nursed by a pious woman five or six leagues from Antioch. Having embraced Christianity and consecrated her virginity to God, she was disowned by her father, adopted by her nurse and lived in the country keeping sheep with her foster mother (in what is now Turkey). Olybrius, Governor of the Roman Diocese of the East, asked to marry her but with the price of her renunciation of Christianity. Upon her refusal she was cruelly tortured, during which various miraculous incidents occurred. One of these involved being swallowed by Satan in the shape of a dragon, from which she escaped alive when the cross she carried irritated the dragon's innards. She was put to death in A.D. 304

Saint Marguerite carved in alabaster, rondebosse, with remnants of gilding highlights. Standing on top of the dragon, hands clasped, she tilts her head, looking towards the monster, it is holding in his mouth a piece of her dress; hair treated as a helmet forming along the forehead small tight curls escaping rearward in a cluster of compact wavy locks; with refined clothing & a detail coat retained on the chest by a delicate node; the monster, with tense muscles, raising its hindquarters with imposing claws. The group stands on a high molded base which  occupies the entire terrace and has a cartridge shield that bears traces of arms. 

Champagne, Troyes, attributed to Jacques Juliot the Ainé, from 1540 to 1550 54 H × W 34.4 × D 15.6 cm 

Sainte Marguerite is one of the most popular saints in Champagne and has been in the sixteenth century a special devotion in this region. Many examples are still preserved; to name a few, we think especially among the finest in St. Margaret Church of Bouilly, that of the Hôtel-Dieu de Troyes, the church Arrelles near Chaource or that of the Church of the Assumption in Montmorency-Beaufort, all according to the same iconography, standing on the monster, "belly of the dragon." This piece is of high quality, and was obviously for private devotion. The bill reflects a very personal chisel picked by the character of the composition, the next "hot" and hectic of the hair, the strength that emanates from the monster - which holds an essential place in the group - and the style openly Italianate underbody with its cartridge-shaped shield. A workshop of sculptors, located in Troyes, left works of the same style that establish a reconciliation. This is the workshop of Juliot whose emblematic work is the alabaster altarpiece of the former Abbey Larrivour not far from Troyes attested by the hand of Jacques Juliot the Aisné whose panels are now dispersed among the Church of St. Nicolas de Troyes, the museum Vauluisant and Metropolitam Museum in New York. 

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Egyptian ART - 16th Century Carvings Bust of Cleopatra

Bust of Cleopatra. Alabaster, carved in the round. The snake on her left shoulder, the ancient heroine looks up to the sky in a pained expression; frowning, and mouth with parted lips revealing the tongue; beautiful treatment of the hair forming loops around the face with bun letting out three strands in the back and over one shoulder. 

Southern Germany or northern Italy, late sixteenth century H 17 × W 22 cm 

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RELIGIOUS ART - 16th Century Carvings from the Bible! King Balthazar

King Balthazar carved in fine grain limestone with traces of polychrome representing the Adoration of the Magi. On one knee, he holds in his hands a ciborium containing myrrh, his conical hat posed with him; balding beautiful face, the eyes marked by crow's feet, mouth, lips parted with well designed and finely crafted cotton; two rows of small bits ending with fangs; richly dressed, he wears a pendant necklace, a tunic with slashed sleeves lined with studs and a belted coat with collar forming also flap lined with cabochons. 

Touraine, 1500 H 87 cm 

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RELIGIOUS ART - 16th Century Carvings from the Bible! Saint Nicolas

Saint Nicolas carved in limestone with remains of polychrome. Stand up and mitred, he makes ​​a gesture of blessing with his right hand and holding  stick (missing) in the other hand; manipulates the right wrist, gloved hands, he is wearing a amice, a long robe and a coat hanging on the breast by a circular clasp; there is also a tub from which emerge three children at his feet. 


Champagne, early sixteenth century H 109 cm 

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RELIGIOUS ART - 15th Century Carvings from the Bible! Lady of Calvary

Beautiful Lady of Calvary carved in larch and lime with traces of polychromy, hollowed back and closed. Standing, slender canon, she holds her hands clasped in front of her chest, head tilted to the right; she is wearing a long robe framing the face, a long belted dress and cloak back deck; scholar draped with folds cascading V on the front and stepped pipes under the arms; base dugout framed. 

Northern Italy, Lombardy?, early fifteenth century H 83 cm

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RELIGIOUS ART - 15th Century Carvings from the Bible! Pietà

Pietà in carved and polychrome limestone, hollowed back. Assisi, the Virgin of her right hand supports the head of his son lying on his knees, legs bent at right angles; facial expression afflicted with arched eyebrows, bitter mouth and pointed chin; a thick veil with wavy edges that form a coat and returns to the front of the knees; soft folds flaring towards the ground. 


Southern Germany, Bavaria, late fifteenth century. H 55 × 52 cm 

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RELIGIOUS ART - 15th Century Carvings from the Bible! Saint John the Baptist

Saint John the Baptist carved in walnut. Holding the lamb lying on his left arm; face high forehead cleared, the bouffant hairstyle framing the forehead and mid-to long beard wavy locks; he is wearing a long robe and a coat with one pan back on the right shoulder by forming two large circular pleats on the front and under the 
right arm. 

Middle Rhine, Cologne, 1410 H 69 cm 

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RELIGIOUS ART - 14th Century Carvings from the Bible! Virgin and Child

Virgin and Child carved walnut, outlined back Sitting on a throne-bench, the bust inclined to the left, the Virgin holds in one hand the child standing by her; face with regular features and purposes with eyes slightly stretched towards the temples, the mouth marked the corners, small, round and heavy chin; she is wearing a dress with a round neck, blousante waist above the waist, and a coat the tails back to the front of the knees; a dotted line under the collar indicates the presence of an old polychrome with orphreys; soft folds of drapery, some falling oblique and broken lines, others forming a horn fall, others as a nose between the knees and under the Child; base molded framed. 

Old collection label on the back of Middle Rhine, presumably Cologne, 
1340/1350 to 32.5 cm H × W 15cm 

(Right hand of the Virgin and Child arm were redone) Provenance:. Old collection, Aachen   (Germany) We can connect this type of Virgin seated with a group of sculptures colonaises which we know several examples, including two conserved Schnütgen Museum in Cologne. All these statuettes are made of walnut, with obvious similarities in the leaning position of the Virgin's bust, her belted waist, coat exposing the chest and back to the front of the knees in a very similar drape. These common characters were listed by Jacqueline Boccador in her work on medieval statuary. You can add other similarities, such as the attitude of the Child, standing with feet placed in an asymmetric position, the hair to wavy locks falling in the back, the location of the crown. The Virgin and Child presented here, by its size, was made to private devotion. However, the work does not have eyes stretched towards the temples, as generally observed on Cologne's statuary. Having been stripped carefully according to the nineteenth century fashion. more

RELIGIOUS ART - 14th Century Carvings from the Bible! Virgin and Child Enthroned

Large Virgin and Child Enthroned, carved and polychrome, carved back. Seated on a throne-bench, on her right chest the Virgin bears her son sitting on her lap in a strictly frontal and symmetrical position; her head is surrounded by a high crown her youthful face triangular at the impassive expression using large eyes, long thin nose and mouth with thin lips and loose, pierced ears for receiving pendants; she is wearing a dress and a coat over her arm, stopping above the ground; the Child, sitting, upper body upright, is coated with a long tunic blousante waist; he opened his arms in a gesture of welcome 

Italy, Umbria, around 1310 H 84.4 cm Soclée 

This Madonna still belongs to the thirteenth century Umbrian majesties with her hieratic attitude and strict frontality. The work retained most of its harmonious polychromieparticulièrement this alliance of blue and red. The historian of Italian art Delpriori Alessandro has authored a comprehensive study of the school of Spoleto, painted and sculpted work of the thirteenth century Umbrian valleys and Valnerina. This sculpture was made in the first decade of the fourteenth Century.  More

RELIGIOUS ART - 14th Century Carvings from the Bible! Virgin and Child

Virgin and Child in limestone of Savonnières-devant-Bar (Meuse) carved in the round. From slender canon, she carries the child sitting on her left arm; it is 
coated with a mid-length veil that frames her face, a dress and a coat open 
one of whose sides is retained by the right forearm bend cascade wavy edges; Child 
holds a book in his hands, showing the text to his Mother. 

North-east France, Argonne, first half of the fourteenth century H 88 cm

RELIGIOUS ART - 14th Century Carvings from the Bible! Virgin and Child

Virgin and Child in carved and polychrome resin, hollowed back. Assisi, the right chest, she carries the Child on her left side; head surrounded by a high flory crown on a veil falling over her shoulders; she is wearing a belted dress with a simple neckline and a back coat on the front of the knees; Child carries a globe in his left hand. 

South-west of France, second half of fourteenth century H 87 cm 

Presented on a backsplash covered with velvet (Missing the right hand of the Virgin and the head of the Child, accidents polychrome) 

RELIGIOUS ART - 14th Century Carvings from the Bible! Virgin and Child

Virgin and Child carved linden, polychrome and gilt, carved back. Standing and swaying, her head tilted to the right, she carries the naked child on her left side; face of great sweetness, with bulging forehead, slit eyes with swollen lower eyelids, tiny mouth with well defined lips, small round chin and is wearing a long dress breaking ground and a raised coat over her shoulder including a right pan covers the front of his body forming an apron; soft pleats on the front and cascading down the sides. 

Salzburg, 1380 H 74 cm 

With her swaying, and her head bowed, the Virgin announced the Beautiful Madonnas of the Bohemian school, created around 1400. Here, the drawing of the figure S is not yet very pronounced as it will be later. Her slender elegance and prettiness of her child make a sculpture of a rare quality.

24 Carvings - RELIGIOUS ART - 13th to 17th Century Carvings from the Bible!

15th Century German Polychromed Limewood Carving of The Virgin & Child, Circa 1450. The sculpture carved in high relief with a hollowed out back, depicting Mary stood on a crescent moon, her long wavy flaxen hair falling down around her shoulders, wearing a gilded cloak with blue lining draped in deep folds over a long girded red robe (lacking crown and forearm). The naked Christ child with golden curly hair holding a gilded apple in one hand, with the other raised in benediction, 54 ins (138 cms) in height.

15th Century German Polychromed Caving of Madonna & Child. The Virgin depicted with long brown hair flowing over a red draped cloak and gilded dress. The Christ child holding a bunch of grapes, 29 ins (74 cms) in height.

Early 16th Century Flemish Polychromed Relief Carving Circa 1500. A Depiction of Mournful Mary knelt wearing gilded cloak and dress, with the figure of John the Evangelist stood beside resting his hand on her shoulder, 17 ins (43 cms) in height.

17th Century Polychromed Wood Carving of The Pieta. Mary depicted wearing gilded drape and tunic with the body of Christ laid over her lap, 16 ins (41 cms) in height.

16th Century Polychromed Relief Carving: The Pieta, 18½ ins (47 cms) high, 22 ins (56 cms) in width.

16th Century Polychromed Relief Carving of 'The Swoon of The Virgin'; supported by Mary of Clopas, Saint John the Evangelist and Mary Salome, 22 ins (56 cms) in height, 20 ins (51 cms) wide.

A Large 13th Century Polychromed Wood Carving of St John. The mournful figure depicted with head bowed, wearing a draped cloak hanging in folds over a long tunic, holding a book in one hand with the other held up to his face, 54½ ind (139 cms) in height.

15th Century Gothic Oak Carving of a Saint Brigitta, Circa 1480. Brigitta depicted wearing a Nun's habit with draped head-scarf over a wimple, 38 ins (97 cms) in height.

A Polychromed Baroque Carving of Saint George on Horseback slaying the dragon, raised on a scrolling pedestal with a vacant cartouche to the centre. 26 ins (66 cms) in height.

Carved Oak Frieze of Six Apostles, Circa 1500. The figures standing between decorative pillars, 17 ins (43 cms) high, 37 ins (94 cms) in width.

17th Century Flemish Oak Carving of Madonna & Child, Circa 1600, 26 ins (66 cms) in height.

16th Century Franco Flemish Oak Sculpture carved in the round with Saint Sebastian depicted with long wavy hair, tied to a post; his body pierced with arrow holes, 36 ins (91 cms) in height.

Late 15th Century Oak Carving of Saint Catherine of Alexandria , South Netherlandish, probably Brussels. The figure depicted wearing a crown with long wavy hair and a draped dress, stood in contrapose with the figure of Emperor Maxentius Underfoot, 35 ins (89 cms) in height.

Carved Oak Altar Piece, attributed to the Lower Rhine area, 15th/Early 16th Century & later. The piece composed of four associated relief carved figure groups depicting St Veronica holding the cloth displaying the face of Christ to the centre, a bishop on horseback riding through a crowd, and Christ before Pilate on the left, and a man offering his cloak to two beggars on the right, flanked by a later kneeling man on one side, and two figures on the other. 34 ins (86.5 cms) in height, 74 ins (188 cms) in width.

17th Century Polychromed Carving of St John holding a bible, 26½ ins (67 cms) in height.

17th Century Flemish Boxwood Carving of Madonna & Child. Mary depicted sat on a Gothic stool with the infant Jesus sat on her lap. The figures raised on a square plinth base with an eagle shield to the front, 9½ ins (24 cms) in height,

An Antwerp Retable Fragment Carving of Christ before Pontius Pilate, 11 ins (28 cms) high, 10½ ins (27 cms) wide.

17th Century Carved Wooden Bust of Saint Boniface depicted wearing a bishop's mitre and holding a sword impaling a book, 28 ins (71 cms) in height.

An Oak Fragment Carving from a Retable depicting Joseph of Arimathea, mounted on a modern base, 17 ins (43 cms) high.

15th Century Oak Sculpture of Madonna, Circa 1480. The hollow backed carving depicted holding an open book, with her long wavy hair hanging down around her shoulders over a draped cloak and girded tunic, 29½ ins (75 cms) in height.

A 15th Century Oak Carving of St James of Compostela. The bearded saint depicted wearing a hat emblazoned with a scallop shell to the upturned brim, a buttoned cloak over a long belted tunic, holding a staff and satchel in one hand with rosary beads in the other, 29½ ins (75 cms) in height.

A Flemish Oak Carving of Saint Anthony, Circa 1500. The abbot depicted with curly hair and beard wearing a cowled flowing cloak over a tunic, holding an open book in one hand, and a staff with bell in the other, with a piglet and tongues of fire at his feet, 38 ins (97 cms) in height.

 A 17th Century German Oak Carving of St John the Evangelist depicted with curly hair, holding an open book in one arm with an eagle at his feet, 26 ins (66 cms) in height.

An 18th Century Carved Oak Panel depicting the angel Gabriel holding a spray of lilies, 13 ins x 10 ins (33 cms x 26 cms).