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Lot Essay
This large and impressive figure of the Virgin was included in an
exhibition of medieval sculpture in America in 1968 (Calkins op.
cit), where it was catalogued as 'Province of Brabant, Brussels (?), last quarter 15th century'. Further research since that exhibition
suggests that the figure is, in fact, part of a small but significant
group of works which are influenced both by the Master of Hakendover, a sculptor working in Brussels circa 1400-1420, and by Flemish panel
painters such as Robert Campin (died 1444) and Rogier van der Weyden
(died 1464).
In the figure offered here, one sees the Virgin at a lectern, leaning
back and raising her right hand in a gesture of surprise and defense at the vision of the archangel Gabriel, who would have been represented by a pendant figure, now lost. The high, domed forehead tilts delicately forward, and the simplified form of the torso is enveloped in the long straight folds of her cloak, which crumple luxuriously as they reach
the ground around her.
Stylistically, the figure can be compared to a relief of the Agony in the Garden in the Rijksmuseum which is catalogued by Leeuwenberg as
being from the early 16th century (loc. cit), but which Steyaert,
in his entry in the Grove Dictionary of Art on the Master of
Hakendover, attributes to this master's workshop. Another even closer figure is a kneeling Virgin from a relief of the Nativity which
Steyaert attributes to Brussels circa 1420-25, noting in particular the influence of the late style of the Master of Hakendover (Steyaert, op. cit., no. 22, p. 146.). All three pieces exhibit the same
domed head, the long straight folds of the cloak which gather at the
bottom, and air of introspection.
exhibition of medieval sculpture in America in 1968 (Calkins op.
cit), where it was catalogued as 'Province of Brabant, Brussels (?), last quarter 15th century'. Further research since that exhibition
suggests that the figure is, in fact, part of a small but significant
group of works which are influenced both by the Master of Hakendover, a sculptor working in Brussels circa 1400-1420, and by Flemish panel
painters such as Robert Campin (died 1444) and Rogier van der Weyden
(died 1464).
In the figure offered here, one sees the Virgin at a lectern, leaning
back and raising her right hand in a gesture of surprise and defense at the vision of the archangel Gabriel, who would have been represented by a pendant figure, now lost. The high, domed forehead tilts delicately forward, and the simplified form of the torso is enveloped in the long straight folds of her cloak, which crumple luxuriously as they reach
the ground around her.
Stylistically, the figure can be compared to a relief of the Agony in the Garden in the Rijksmuseum which is catalogued by Leeuwenberg as
being from the early 16th century (loc. cit), but which Steyaert,
in his entry in the Grove Dictionary of Art on the Master of
Hakendover, attributes to this master's workshop. Another even closer figure is a kneeling Virgin from a relief of the Nativity which
Steyaert attributes to Brussels circa 1420-25, noting in particular the influence of the late style of the Master of Hakendover (Steyaert, op. cit., no. 22, p. 146.). All three pieces exhibit the same
domed head, the long straight folds of the cloak which gather at the
bottom, and air of introspection.