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Lot Essay
When the present relief was discussed by Michael Maek-Gérard in 1992, he noted that it had previously been described as ‘south-east German or Austrian, early 16th century’ and ‘South Tyrol, circa 1500’ (see Radcliffe et al, op. cit., p. 368). However, as he pointed out, the relief is clearly indebted to the work of the sculptor Hans Leinberger (fl. 1511-1530), whose early life remains obscure, but whose influence pervaded the Danube region of Germany and Austria in the second quarter of the 16th century.
With its strong male facial types, the agitated drapery, and the distinctive cloud formations, this relief can be related to several works from relatively early in Leinberger’s career, including several elements of the altar dedicated to St. Castulus (circa 1511-1514, formerly Stiftskirche, Moosberg, see ibid, p. 369, fig. 2 and Thoma, op. cit., p. 150, no. 12). The facial types of the angels are also closely comparable to Leinberger’s figure of Christ in the Virgin and Child Enthroned (circa 1515, Bayerisches Nationalmuseum, Munich, see Radcliffe et al, op. cit, pp. 368-369, figs. 1 and 1a).
The elongated proportions of the relief suggest that in its original location, it was meant to be seen from below. It is also interesting to note - as observed by Maek-Gérard - that the sculptor has intentionally distorted the figures, including the positioning of the shoulders of Christ and God the Father, along with the recessed half of each face, in order that they might be better read from the intended viewpoint.
The iconography of the lot offered here does not find its origins in the bible, but was popular from at least the 13th century. It is often the final scene in cycles of the life of the Virgin – after the Assumption - and represents her crowning as the ‘Queen of Heaven’. It is depicted either with Christ alone crowning his mother, or with the Trinity, represented by Christ, God the Father and the Holy Spirit. In its original form, the present relief almost certainly included a depiction of the latter in the form of a dove hovering above the Virgin’s head.
With its strong male facial types, the agitated drapery, and the distinctive cloud formations, this relief can be related to several works from relatively early in Leinberger’s career, including several elements of the altar dedicated to St. Castulus (circa 1511-1514, formerly Stiftskirche, Moosberg, see ibid, p. 369, fig. 2 and Thoma, op. cit., p. 150, no. 12). The facial types of the angels are also closely comparable to Leinberger’s figure of Christ in the Virgin and Child Enthroned (circa 1515, Bayerisches Nationalmuseum, Munich, see Radcliffe et al, op. cit, pp. 368-369, figs. 1 and 1a).
The elongated proportions of the relief suggest that in its original location, it was meant to be seen from below. It is also interesting to note - as observed by Maek-Gérard - that the sculptor has intentionally distorted the figures, including the positioning of the shoulders of Christ and God the Father, along with the recessed half of each face, in order that they might be better read from the intended viewpoint.
The iconography of the lot offered here does not find its origins in the bible, but was popular from at least the 13th century. It is often the final scene in cycles of the life of the Virgin – after the Assumption - and represents her crowning as the ‘Queen of Heaven’. It is depicted either with Christ alone crowning his mother, or with the Trinity, represented by Christ, God the Father and the Holy Spirit. In its original form, the present relief almost certainly included a depiction of the latter in the form of a dove hovering above the Virgin’s head.