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Central European School. Early 18th century.
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Beschreibung
Central European School. Early 18th century.
"Our Lady of Sorrows"
Carved wooden sculpture, polychromed and gilded with silver plating.
74 x 41 x 17.5 cm.
On the back, it bears the collection number: 1224-160 and the word "Wallerw".
This splendid sculpture of Our Lady of Sorrows, which is currently displayed on its own, originally formed part of a Calvary, as indicated by both its bodily disposition and attitude. It is positioned to the left of the Crucifixion (to the right side from the viewer's perspective), with Saint John, the Beloved Disciple, to its right. It is an image intended for worship but not for processions, as the back is left unpainted and uncarved, indicating that it was most likely placed in a reredos. The only feature on the back is an iron fixture, which would have secured the carving to its designated location.
The Virgin Mary is standing, with her head tilted. She seems ready to move, as her body subtly performs a contrapposto by advancing her right leg, the knee of which is hinted at beneath the numerous and finely draped folds of her tunic. She wears a red tunic that reaches down to her feet, exposing only her head, hands, and the front of her shoes. A blue mantle is draped over her head, covering her hair, back, and right arm, with one end elegantly curving—demonstrating the sculptor's exceptional technical skill—across her left arm. A white veil also covers her hair, with only a narrow horizontal strip visible along the lower part of her neck. The garments are adorned with numerous fine horizontal folds, both straight and curved, with sharp edges, providing the piece with a sense of dynamism. They create multiple plays of light and shadow along the body, enhancing the texture and volume of the sculpture. This distinctive style of working the folds is likely to have been one of the anonymous artist's trademarks.
The hands have been carved separately from the body and are attached to it with a rod. They are highly expressive, along with the pained expression on her face, conveying a restrained anguish. Her left hand is placed on her chest in a gesture of resigned grief, with a small hollow between her fingers where one of the swords of sorrow would have been inserted, in reference to the prophecy made by the elderly Simeon when the Virgin Mary and Saint Joseph presented Jesus in the temple: "And a sword will pierce through your own soul." In contrast, her right hand is extended in a clear declamatory posture. The fingers are carved with naturalism and meticulousness, each one is distinct and positioned differently: stretched, arched, bent, or nestled in the folds of the tunic. Furthermore, the hands are so detailed that even the lines on the palms have been carved.
The head is oval-shaped and displays a highly expressive face, which exudes sadness. It features delicate and refined features: slightly open slanted eyes, a prominent nose with a broad bridge and soft nostrils, a small partially open mouth with full lips, and a strong chin.
Given the aforementioned characteristics, such as the sharp-edged folded drapery, the fact that the hands are carved separately from the rest of the body, details like the contrapposto of the left leg, or the use of fine features for the face, it seems clear that the sculpture was created in the 18th century, specifically in the early decades of the century. However, it is difficult to establish a precise attribution since it displays common characteristics from several Schools. Additionally, an inscription in what appears to be the German language, "Wallerw," can be seen on the back of the piece. All of these elements lead us to believe that it is an interesting example of Central European Baroque sculpture.
We would like to express our gratitude to Mr. Javier Baladrón, PhD in Art History, for the identification and cataloguing of this artwork.
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Central European School. Early 18th century.
"Our Lady of Sorrows"
Carved wooden sculpture, polychromed and gilded with silver plating.
74 x 41 x 17.5 cm.
On the back, it bears the collection number: 1224-160 and the word "Wallerw".
This splendid sculpture of Our Lady of Sorrows, which is currently displayed on its own, originally formed part of a Calvary, as indicated by both its bodily disposition and attitude. It is positioned to the left of the Crucifixion (to the right side from the viewer's perspective), with Saint John, the Beloved Disciple, to its right. It is an image intended for worship but not for processions, as the back is left unpainted and uncarved, indicating that it was most likely placed in a reredos. The only feature on the back is an iron fixture, which would have secured the carving to its designated location.
The Virgin Mary is standing, with her head tilted. She seems ready to move, as her body subtly performs a contrapposto by advancing her right leg, the knee of which is hinted at beneath the numerous and finely draped folds of her tunic. She wears a red tunic that reaches down to her feet, exposing only her head, hands, and the front of her shoes. A blue mantle is draped over her head, covering her hair, back, and right arm, with one end elegantly curving—demonstrating the sculptor's exceptional technical skill—across her left arm. A white veil also covers her hair, with only a narrow horizontal strip visible along the lower part of her neck. The garments are adorned with numerous fine horizontal folds, both straight and curved, with sharp edges, providing the piece with a sense of dynamism. They create multiple plays of light and shadow along the body, enhancing the texture and volume of the sculpture. This distinctive style of working the folds is likely to have been one of the anonymous artist's trademarks.
The hands have been carved separately from the body and are attached to it with a rod. They are highly expressive, along with the pained expression on her face, conveying a restrained anguish. Her left hand is placed on her chest in a gesture of resigned grief, with a small hollow between her fingers where one of the swords of sorrow would have been inserted, in reference to the prophecy made by the elderly Simeon when the Virgin Mary and Saint Joseph presented Jesus in the temple: "And a sword will pierce through your own soul." In contrast, her right hand is extended in a clear declamatory posture. The fingers are carved with naturalism and meticulousness, each one is distinct and positioned differently: stretched, arched, bent, or nestled in the folds of the tunic. Furthermore, the hands are so detailed that even the lines on the palms have been carved.
The head is oval-shaped and displays a highly expressive face, which exudes sadness. It features delicate and refined features: slightly open slanted eyes, a prominent nose with a broad bridge and soft nostrils, a small partially open mouth with full lips, and a strong chin.
Given the aforementioned characteristics, such as the sharp-edged folded drapery, the fact that the hands are carved separately from the rest of the body, details like the contrapposto of the left leg, or the use of fine features for the face, it seems clear that the sculpture was created in the 18th century, specifically in the early decades of the century. However, it is difficult to establish a precise attribution since it displays common characteristics from several Schools. Additionally, an inscription in what appears to be the German language, "Wallerw," can be seen on the back of the piece. All of these elements lead us to believe that it is an interesting example of Central European Baroque sculpture.
We would like to express our gratitude to Mr. Javier Baladrón, PhD in Art History, for the identification and cataloguing of this artwork.
Routes of Art
Auktionsdatum
Lose: 100
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
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