Details
A PAIR OF POLYCHROME AND GILTWOOD RELIEFS
SOUTH GERMAN, LATE 15TH CENTURY
Depicting the Adoration of the Magi and the Circumcision (worming, splits, losses to gilding, polychrome and figures)-33in. x 30in. (84cm. x 76cm.) and 31½in. x 29in. (80.5cm. x 74cm.)
COMPARATIVE LITERATURE
C. Kuhn, German and Netherlandish Sculpture 1280-1800: The Harvard Collections, Cambridge, MA, 1965, cat. no. 29, p. 74
T. Müller, Gotische Skulptur in Tirol, Bozen, 1976, fig. 164
E. Grimme, Europäische Bildwerke vom Mittelalter zum Barock, Suermondt-Ludwig-Museum Aachen, Koln, 1977, cat. no. 203, p. 105, plate 194
M. Baxandall, The Limewood Sculptors of Renaissance Germany, New Haven, 1980, fig. 72, p. 127-135
Metropolitan Museum of Art, Gothic and Renaissance Art in Nuremberg 1300-1550, (exhibition catalogue) NY, 1986, no. 30 and 88
ÿhe composition of the relief of the Adoration is derived from an engraving by Martin Schongauer (Lehrs, no. 8). The carver has taken the basic arrangement of the figures, only omiting those in the background landscape. The source for the Circumcision relief is unknown.
The carving is stylistically close to the "first generation" of sculptors originating from Ulm (i.e. Michael Erhart). The configuration of the drapery, the treatment of the hair and beards, as well as the sweetness of facial expression and attitude can be found in retable wings from this region. (2)
SOUTH GERMAN, LATE 15TH CENTURY
Depicting the Adoration of the Magi and the Circumcision (worming, splits, losses to gilding, polychrome and figures)-33in. x 30in. (84cm. x 76cm.) and 31½in. x 29in. (80.5cm. x 74cm.)
COMPARATIVE LITERATURE
C. Kuhn, German and Netherlandish Sculpture 1280-1800: The Harvard Collections, Cambridge, MA, 1965, cat. no. 29, p. 74
T. Müller, Gotische Skulptur in Tirol, Bozen, 1976, fig. 164
E. Grimme, Europäische Bildwerke vom Mittelalter zum Barock, Suermondt-Ludwig-Museum Aachen, Koln, 1977, cat. no. 203, p. 105, plate 194
M. Baxandall, The Limewood Sculptors of Renaissance Germany, New Haven, 1980, fig. 72, p. 127-135
Metropolitan Museum of Art, Gothic and Renaissance Art in Nuremberg 1300-1550, (exhibition catalogue) NY, 1986, no. 30 and 88
ÿhe composition of the relief of the Adoration is derived from an engraving by Martin Schongauer (Lehrs, no. 8). The carver has taken the basic arrangement of the figures, only omiting those in the background landscape. The source for the Circumcision relief is unknown.
The carving is stylistically close to the "first generation" of sculptors originating from Ulm (i.e. Michael Erhart). The configuration of the drapery, the treatment of the hair and beards, as well as the sweetness of facial expression and attitude can be found in retable wings from this region. (2)
Literature