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"Seat of Wisdom (Sedes Sapientiae)". Carved and polychromed sculpture. Gothic. 14th century.
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Description
"Seat of Wisdom (Sedes Sapientiae)". Carved and polychromed sculpture. Gothic. 14th century.
One of the sweetest and most intimate depictions of the Virgin Mary as Our Lady of the Milk. Mary is presented as a mother, suckling her son.
This image of Mary was widespread in the Middle Ages, and into the Renaissance.
Already far from the rigid and severe canons of the Romanesque, it was during the Gothic period that the Virgin Mary took centre stage, especially in sculptures with the Christ Child. She is depicted, as in this case, as a young Virgin Mary – mother, idealised, with a sweet expression, smiling, lovingly holding the baby Jesus in her arms, showing great humanisation.
The Christ Child, as well as having moved from the centre to the left, is to be found on his mother’s lap, as he lovingly embraces her with both hands while lifting his gaze to her eyes.
The Virgin Mary is seated on her throne of glory, and forms in turn a throne for her son, but all the solemnity has disappeared, and in this case, the throne and the crown are the only vestiges of the Maestà formula. Neither Mary nor Jesus face forwards, they are not giving blessing or holding an orb in any of their hands. The scene really is that of a mother and her child absorbed in one another.
From the middle of the 14th century, feelings were the chosen way to transmit spirituality and dogmas of faith to people, rather than the fear that was transmitted in previous epochs. Artists began to give religious characters greater feeling, both to show us Jesus’ suffering and to show us the Madonna as a mother with her child.
In this image, Mary is young and beautiful, wearing a short veil and crown on her head. She wears a tunic which is cinched with a belt and a cloak which falls behind her shoulders to the floor, forming gorgeous gothic folds. A delicate, black bead necklace with a red pendant adorns her neck.
59 x 22,5 x 17,5 cm.
One of the sweetest and most intimate depictions of the Virgin Mary as Our Lady of the Milk. Mary is presented as a mother, suckling her son.
This image of Mary was widespread in the Middle Ages, and into the Renaissance.
Already far from the rigid and severe canons of the Romanesque, it was during the Gothic period that the Virgin Mary took centre stage, especially in sculptures with the Christ Child. She is depicted, as in this case, as a young Virgin Mary – mother, idealised, with a sweet expression, smiling, lovingly holding the baby Jesus in her arms, showing great humanisation.
The Christ Child, as well as having moved from the centre to the left, is to be found on his mother’s lap, as he lovingly embraces her with both hands while lifting his gaze to her eyes.
The Virgin Mary is seated on her throne of glory, and forms in turn a throne for her son, but all the solemnity has disappeared, and in this case, the throne and the crown are the only vestiges of the Maestà formula. Neither Mary nor Jesus face forwards, they are not giving blessing or holding an orb in any of their hands. The scene really is that of a mother and her child absorbed in one another.
From the middle of the 14th century, feelings were the chosen way to transmit spirituality and dogmas of faith to people, rather than the fear that was transmitted in previous epochs. Artists began to give religious characters greater feeling, both to show us Jesus’ suffering and to show us the Madonna as a mother with her child.
In this image, Mary is young and beautiful, wearing a short veil and crown on her head. She wears a tunic which is cinched with a belt and a cloak which falls behind her shoulders to the floor, forming gorgeous gothic folds. A delicate, black bead necklace with a red pendant adorns her neck.
59 x 22,5 x 17,5 cm.
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"Seat of Wisdom (Sedes Sapientiae)". Carved and polychromed sculpture. Gothic. 14th century.
One of the sweetest and most intimate depictions of the Virgin Mary as Our Lady of the Milk. Mary is presented as a mother, suckling her son.
This image of Mary was widespread in the Middle Ages, and into the Renaissance.
Already far from the rigid and severe canons of the Romanesque, it was during the Gothic period that the Virgin Mary took centre stage, especially in sculptures with the Christ Child. She is depicted, as in this case, as a young Virgin Mary – mother, idealised, with a sweet expression, smiling, lovingly holding the baby Jesus in her arms, showing great humanisation.
The Christ Child, as well as having moved from the centre to the left, is to be found on his mother’s lap, as he lovingly embraces her with both hands while lifting his gaze to her eyes.
The Virgin Mary is seated on her throne of glory, and forms in turn a throne for her son, but all the solemnity has disappeared, and in this case, the throne and the crown are the only vestiges of the Maestà formula. Neither Mary nor Jesus face forwards, they are not giving blessing or holding an orb in any of their hands. The scene really is that of a mother and her child absorbed in one another.
From the middle of the 14th century, feelings were the chosen way to transmit spirituality and dogmas of faith to people, rather than the fear that was transmitted in previous epochs. Artists began to give religious characters greater feeling, both to show us Jesus’ suffering and to show us the Madonna as a mother with her child.
In this image, Mary is young and beautiful, wearing a short veil and crown on her head. She wears a tunic which is cinched with a belt and a cloak which falls behind her shoulders to the floor, forming gorgeous gothic folds. A delicate, black bead necklace with a red pendant adorns her neck.
59 x 22,5 x 17,5 cm.
One of the sweetest and most intimate depictions of the Virgin Mary as Our Lady of the Milk. Mary is presented as a mother, suckling her son.
This image of Mary was widespread in the Middle Ages, and into the Renaissance.
Already far from the rigid and severe canons of the Romanesque, it was during the Gothic period that the Virgin Mary took centre stage, especially in sculptures with the Christ Child. She is depicted, as in this case, as a young Virgin Mary – mother, idealised, with a sweet expression, smiling, lovingly holding the baby Jesus in her arms, showing great humanisation.
The Christ Child, as well as having moved from the centre to the left, is to be found on his mother’s lap, as he lovingly embraces her with both hands while lifting his gaze to her eyes.
The Virgin Mary is seated on her throne of glory, and forms in turn a throne for her son, but all the solemnity has disappeared, and in this case, the throne and the crown are the only vestiges of the Maestà formula. Neither Mary nor Jesus face forwards, they are not giving blessing or holding an orb in any of their hands. The scene really is that of a mother and her child absorbed in one another.
From the middle of the 14th century, feelings were the chosen way to transmit spirituality and dogmas of faith to people, rather than the fear that was transmitted in previous epochs. Artists began to give religious characters greater feeling, both to show us Jesus’ suffering and to show us the Madonna as a mother with her child.
In this image, Mary is young and beautiful, wearing a short veil and crown on her head. She wears a tunic which is cinched with a belt and a cloak which falls behind her shoulders to the floor, forming gorgeous gothic folds. A delicate, black bead necklace with a red pendant adorns her neck.
59 x 22,5 x 17,5 cm.
On Emperors, Monarchs and Faith
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Lots: 395
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The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
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CONDITIONS OF THE AUCTION:
IV. AUCTIONEER. The auction will be conducted by an auctioneer, director of the auction will be judge and arbitrator of it with full authority in its development, will award the lots to the highest bidder and is able to settle any controversy concerning lots sale, reject bids, divide lots or group them and remover objects from the room. Will be able to, if it is deemed suitable, not accept bids on the auction. His decision will be unappealable.
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VII. SCALE OF BIDS. The bids are set according to the following scale:
From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
VIII. RIGHT OF ADMISION. "LST" reserves the right to admission to the auction room and to reject, at its judgment, any purchase order, from clients whose solvency is not duly proved as well as not to sale auctions.
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XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
XIII. RIGHT OF FIRT REFUSAL AND REPURCHASE. "LST" in order to article 38 of "Ley 16/1985 de 25 Junio del Patrimonio Histórico Español" (BOE. 155 June 29, 1985), will notify in advance to the Ministry of Culture, the content of their catalogues. Concerning the lots subject to the legislation referred to in the preceding paragraph, the Administration may exercise the rights of first refusal and repurchase according to the law. "LST" will watch over the protection of Artistic, Historical and Bibliographical Heritage of Spain. For customers out of European Community, a tax for export is required by the Administration.
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Sales operations are understood to be held at the registered office of "LST", C/ Conde de Salvatierra, 8, 08006. Any dispute shall be taken to the competent courts of Barcelona, expressly waiving any other jurisdiction, in accordance with Article 55 of the "Ley de Enjuiciamiento Civil".
