14
Late Gothic French Sculpture of the Madonna & Child
Estimate:
$2,000 - $3,000
Sold
$13,000
Live Auction
Sacred Statues: Gothic to Baroque 14th-17th C
Description
This exquisite Late Gothic polychrome limestone sculpture of the Madonna and Child in Majesty is a remarkable example of the artistic refinement characteristic of the �le-de-France School. Originating in the 14th or early 15th century, this piece embodies the evolving stylistic trends of Parisian Gothic sculpture, where religious figures were rendered with a heightened sense of naturalism, grace, and emotional depth. The �le-de-France region, home to some of the most celebrated sculptural workshops of the medieval period, played a pivotal role in shaping the Gothic artistic tradition, particularly through commissions for the grand cathedrals and religious institutions of Paris and its surrounding areas.
The �le-de-France School emerged as a dominant force in medieval sculpture from the 12th through 15th centuries, fostering the transition from the more rigid and elongated forms of early Gothic art to compositions imbued with a sense of softness, realism, and human connection. The sculptors of this region were deeply influenced by the royal and ecclesiastical patronage of Notre-Dame Cathedral, Chartres, and the Sainte-Chapelle, where they developed a distinctive style characterized by serene facial expressions, fluid drapery, and refined polychrome finishes. By the late 14th century, this style had matured into a more intimate and lifelike approach to sacred imagery, as seen in this sculpture, which depicts the Virgin and Christ Child not only as divine figures but also as a tender, humanized representation of maternal devotion.
This piece is attributed to the �le-de-France School based on several key stylistic elements. The Madonna's delicately modeled face, with its idealized yet naturalistic features and gentle downward gaze, strongly aligns with the aesthetic conventions seen in French Gothic sculpture of the period, particularly those associated with the Parisian courtly style. The rendering of the drapery, with its deep, flowing folds that create a sense of movement and three-dimensionality, is another hallmark of the region's sculptural tradition. The interaction between the Virgin and Child, where Christ gently engages with his mother while holding what appears to be an orb or fruit, further reinforces the stylistic advancements of this period, which emphasized warmth and realism in religious compositions.
The iconography of the enthroned Madonna and Child-sometimes referred to as Sedes Sapientiae, or "Throne of Wisdom"-was a dominant theme in Gothic religious sculpture, meant to reinforce the Virgin's role as both the Queen of Heaven and the vessel of divine wisdom. This particular representation, with Christ engaging with his mother in a lifelike, almost tender manner, marks a shift toward the more personal and introspective depictions that became increasingly popular in the late medieval period. The architectural base, with its gothicized arch detailing, suggests that this piece may have originally been part of a larger altarpiece or private devotional shrine.
Issued: 15th-Early 16th century
Dimensions: 14"L x 9"W x 29.75"H
Country of Origin: France
Provenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963.
The �le-de-France School emerged as a dominant force in medieval sculpture from the 12th through 15th centuries, fostering the transition from the more rigid and elongated forms of early Gothic art to compositions imbued with a sense of softness, realism, and human connection. The sculptors of this region were deeply influenced by the royal and ecclesiastical patronage of Notre-Dame Cathedral, Chartres, and the Sainte-Chapelle, where they developed a distinctive style characterized by serene facial expressions, fluid drapery, and refined polychrome finishes. By the late 14th century, this style had matured into a more intimate and lifelike approach to sacred imagery, as seen in this sculpture, which depicts the Virgin and Christ Child not only as divine figures but also as a tender, humanized representation of maternal devotion.
This piece is attributed to the �le-de-France School based on several key stylistic elements. The Madonna's delicately modeled face, with its idealized yet naturalistic features and gentle downward gaze, strongly aligns with the aesthetic conventions seen in French Gothic sculpture of the period, particularly those associated with the Parisian courtly style. The rendering of the drapery, with its deep, flowing folds that create a sense of movement and three-dimensionality, is another hallmark of the region's sculptural tradition. The interaction between the Virgin and Child, where Christ gently engages with his mother while holding what appears to be an orb or fruit, further reinforces the stylistic advancements of this period, which emphasized warmth and realism in religious compositions.
The iconography of the enthroned Madonna and Child-sometimes referred to as Sedes Sapientiae, or "Throne of Wisdom"-was a dominant theme in Gothic religious sculpture, meant to reinforce the Virgin's role as both the Queen of Heaven and the vessel of divine wisdom. This particular representation, with Christ engaging with his mother in a lifelike, almost tender manner, marks a shift toward the more personal and introspective depictions that became increasingly popular in the late medieval period. The architectural base, with its gothicized arch detailing, suggests that this piece may have originally been part of a larger altarpiece or private devotional shrine.
Issued: 15th-Early 16th century
Dimensions: 14"L x 9"W x 29.75"H
Country of Origin: France
Provenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963.
Condition
Age related wear. Missing right hand and partial fingers missing on the left.