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Title

Lamentation

Vahía, Alejo de (Active in Castile: 1487-1510)

Generic classification
Sculpture
Object
Sculpture
Date
ca. 1490-1510
Century
Late 15th c.
Cultural context / style
Late Gothic
Dimensions
41 x 37 x 10 1/2 in
Material
Wood
Technique
Gilded, Polychrome
Provenance
Possibly from the province of Palencia (Palencia, Spain)
Current location
Meadows Museum (Dallas, Texas, United States)
Inventory Number in Current Collection
MM.89.02
Object history

Originally this sculptural group was ascribed to East Germany and was dated around 1500 (Boccador, 1974). According to this author (1974), "the morphology of the visages evokes these works from East Germany". However, given the characteristics of the set, Yarza (1982) considered it to be by Alejo de Vahía. This artist worked mainly in the current provinces of Palencia and Valladolid, therefore, the piece came from that environment. 

It is unknown when it left Spain, but in the mid-twentieth century it was in the collection of Édouard Bresset (Boccador, 1974; Yarza, 1982). This antiquarian opened an art gallery in Paris in 1927 and specialized in medieval art. Subsequently the set was in the hands of Edward R. Lubin, an antique dealer based in Manhattan. In 1982 the piece was still in Bresset's hands, so it must have been in the late 1980s that the work changed hands. The set was acquired in 1989 by the Meadows Museum, where it remains today.

Description

This gilded and polychrome wood (walnut) sculpture represents the scene of the Weeping over the dead Christ. In the center of the composition the Virgin holds the inert body of her son. To her left, the apostle St. John holds his arm, while Mary Magdalene, on the right, holds his legs. The scene is completed by Mary, mother of James, an unidentified figure, Nicodemus and Joseph of Arimathea. Although the figures present a certain rigidity in their posture, their faces convey a deep sadness.

Locations
* The relative location of dealers, antique shops, art galleries, and collectors leads us to the places where they were based or had one of their main headquarters. However, this does not always indicate that every artwork that passed through their hands was physically located there. In the case of antique dealers and art merchants, their business often extended across multiple territories; sometimes they would purchase items at their origin and send them directly to clients. Similarly, some collectors owned multiple residences, sometimes in different countries, where they housed their collections. It is often difficult to determine exactly where a specific piece was kept during its time in their possession. Consequently, the main location of the dealer or collector is indicated. These factors should be considered when interpreting the map. Refer to the object's history in each case.
Bibliography
  • ARA GIL, Clementina Julia (1974): En torno al escultor Alejo de Vahía (1490-1510), Universidad de Valladolid, Valladolid.
  • BOCCADOR, Jacqueline (1974): Statuaire médiévale en France de 1400 à 1530, vol. II, Les Clefs du Temps, Zoug, pp. 238-239.
  • BOCCADOR, Jacqueline y BRESSET, Edouard (1972): Statuaire médiévale de collection, vol. II, Les clefs du temps.
  • WATTENBERG, Federico (1964): Exposición de la obra del Maestro de Santa Cruz de Valladolid, Diputación Provincial de Valladolid, Valladolid, p. 39.
  • YARZA LUACES, Joaquín (1982): Alejo de Vahía y su escuela: nuevas obras, s.l., Madrid, pp. 47-48.
Citation:

Isabel Escalera Fernández, "Lamentation" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/316