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Title

Virgin and Child

Generic classification
Sculpture
Object
Sculpture
Date
ca. 1200-1250
Century
First half of the 13th c.
Cultural context / style
Gothic
Dimensions
18 7/8 x 7 5/8 x 4 1/2 in
Material
Wood
Technique
Gilded, Gilded And Painted, Polychrome
Iconography / Theme
Virgen con el Niño
Provenance
Possible origin from Castile and Leon (Castilla y León, Possible origin from Castile and Leon, Spain)
Current location
The Hispanic Society of America (New York, United States)
Inventory Number in Current Collection
D22
Object history

The origin of this sculpture is unknown, however, if we pay attention to its stylistic features we can find similar works in San Miguel de la Escalada, León (Cook and Gudiol, 1980). Likewise, Gilman (1932) related it to the sculptures of the cloister of the cathedral of León, dating the piece to the first half of the 13th century. However, this comparison is not very accurate, since the folds of the drapery are much more rigid in this case. Constancio del Álamo and Elizabeth Valdez point out in Gothic Sculpture in America: The Museums of New York and Pennsylvania (2016) that "the caplike pleats that cover the head of a Virgin in the Palacio del Obispo of Segovia are comparable to the treatment of the pleated veil of the Hispanic Society's Virgin" (Pérez and Pando, 1930). Another element that supports the hypothesis of its possible Castilian origin is the 16th century repainting (Proske, 1932). Both the polychrome of the carving as well as the use of the stew refer to Castile.

We cannot specify when the piece left its original location, however, at the beginning of the 20th century it was in the Schutz Galleries in Paris. It was precisely this gallery that sold the sculpture to the Hispanic Society of America in 1912, becoming part of its collections from 1913 (Valdez and del Álamo, 2016).

Description

The piece has suffered losses with the passage of time, such as the hand of the Child Jesus. Likewise, the crown that the Virgin wears has also been affected, however, in the restoration that was carried out in 1983 it was reconstructed. In addition, those parts in which the gilding had been lost, such as the left knee of the Child Jesus, were restored.

* 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
  • COOK, Walter W. S. y GUDIOL, José (1980): Pintura e imaginería románicas. Ars Hispaniae, vol. VI, Plus-Ultra, Madrid, p. 376.
  • GILMAN PROSKE, Beatrice (1930): Catalogue of sculpture (Sixteenth to eighteenth Centuries) in the Collection of the Hispanic Society of America. Nueva York, The Trustees of Hispanic Society of America, Nueva York, p. 41.
  • HOLLADAY, Joan y WARD, Susan (eds.) (2016): Gothic Sculpture in America: The Museums of New York and Pennsylvania, vol. III, International Center of Medieval Art, Nueva York, pp. 99-101.
  • PÉREZ Y PANDO, Joaquín (1930): Iconografía mariana española, Vergara, p. 36.
Citation:

Isabel Escalera Fernández, "Virgin and Child" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/385

Virgin and Child

Holladay (2016): 99.

Holladay (2016): 99.

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