Wood Low-Relief Depicting a Werewolf and Saint George

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

CARVED POLYCHROME WOOD DEPICTING SAINT FLORIAN ORIGIN : SWABIA, SOUTHERN GERMANY PERIOD : LATE 15th CENTURY Height : 98 cm Length : 29 cm Depth : 24 cm Polychrome limewood Very fine condition Provenance - Swiss collection STAEHELIN-PARAVICINI - March 1939 - Auction Jacob Hecht -18 April 1929, Berlin - Sammlung Prof Q.A. LEIMHAAS Munich, Helbing - 26 May 1908 (Research by Thierry Fraslin) During the Middle-Age Saint Florian was particularly popular, subject to worship in Austria -Tyrol- Bavaria and Bohemia. Embodying courage and commitment Saint Florian was invoked to protect the soul of the living against sins and to keep the soul of the deads from the purgatory. From the mid-15th century he safeguards from water and fire. The legend has it that when he was young the saint had contained the fire of a burning...

Carved wood Saint Sebastian Origin : Southern Germany Period : c. 1510-1520 Measures: Height : 146 cm Width : 67 cm Depth : 30 cm Walnut Good condition According to Jocobus de Varagine’s Golden Legend Sebastian was born in Narbonne where he was promoted head of the first cohort by emperors Maximian and Diocletian who were fond of him. One day as Marcellin and Marc were condemned because of their Christian faith Sebastian urged them to not give away. He would then convert many Roman soldiers before being reported to Diocletian. The emperor had him tied against a post in a middle of the Field of Mars and pierced by the soldiers’ arrows. Sebastian did not die and recovered thanks to Irene’s good care. Once he had recovered from his injuries he went to the palace to critized the emperor’s attitude towards Christians. Sebastian was beaten to death. Following the common iconography Saint Sebastian is here depicted leaning against crooked tree with his arms tied with ropes. His peaceful face presents a straight nose and small lips framed by his hair locks. His head turned to the right side is slighlty tilted backwards as if he was gazing at the sky. Saint Sebastian body’s is gracefully presented in contrapposto. Almost completely naked a single piece of draped cloth is tied on his right hip and fall over his left knee. The carved folds give the fabric the realness of a heavy cloth. The arrows wounds are still visible. The saint’s anatomy with its bulging muscles and protruding ribs illustrate the sculptor’s skills. The right arm’s movement enlivens the sculpture. The artist who authored this sculpture knew how to breathe grace and life to his work through the expression of the saint’s face...

The Saint depicted here is Saint James the Great. James is the brother of St. John the Evangelist. Nothing is known of his activities after the Ascension...

Large high relief in carved and gilt wood, with many traces of polychromy, representing the Adoration of the Shepherds. The evangelist Luke first mentions that the scene takes place at night. A sudden light, which frightens the shepherds, signals the arrival of an angel who announces "great joy". He gives them a sign: they will find "a newborn baby wrapped...

Amazing ALLEGORICAL PANEL in walnut 17th Century Magnificent quality wood, inspired by a 1617 panel from the Louvre. Justitia represents justice, equity and order and Mars embodies ...

Large Terracotta relief of the flight into Egypt Lombardy, first half of 17th century Painted terracotta 91 x 85 x 11,5 cm This event in the early life of Christ is recounted i...

An important bas-relief in carved wood with traces of gilding, in an architectural frame with two cherubs in the spandrels, representing Saint Roch. He is considered to be the patro...