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Title

Virgin. Part of a Calvary

Anónimo castellano [attributed to]

Generic classification
Sculpture
Object
Sculpture
Date
ca. 1200-1250
Century
First half of the 13th c.
Cultural context / style
Gothic
Dimensions
39,3 x 9,1 x 5,8 in
Material
Wood
Technique
Polychrome
Iconography / Theme
Calvario, Virgen
Provenance
Possible origin from Castile and Leon (Castilla y León, Possible origin from Castile and Leon, Spain)
Current location
Detroit Institute of Art (Detroit, United States)
Inventory Number in Current Collection
63.157
Object history

This carving was part of a Calvary, although we know the location of only two pieces from the original set: the Virgin and Saint John. One reason for the dismemberment lies in the use to which the sculptures were put, as it is most likely that the Crucified Christ continued to be used in worship (Franco Mata, 2010). Although we do not know where they were originally located, their stylistic features—such as the large head, the Virgin’s clasped hands, and the folds of the clothing—suggest that they may have been crafted in a workshop from Castile and León. Examples from this period include the sculptures of the Virgin and Saint John the Evangelist from the Monastery of Santa María de Gradefes (León), currently in the National Archaeological Museum in Madrid (Franco Mata, 1988; 1993), and the Calvary of San Pedro de Tejada (Burgos), now housed in the Frederic Marès Museum (Barcelona).

Although it is unknown how they left the country, it appears they were acquired in the region of Châlons-sur-Marne (France), which led to them being erroneously considered French (Gillerman, 2001). They were purchased in the second third of the 20th century by Adolph Loewi, later passing into the hands of automotive magnate Henry Ford II (Gillerman, 2001). The head of the Ford Motor Company donated both carvings in the 1960s to the Detroit Institute of Art (United States), where they are currently housed.

Description

Traces of polychrome paint suggest that the carving has been repainted on several occasions. Notable features of the piece include the size of the heads and the folds in the clothing, a detail that has made it possible to date it to the first half of the 13th century.

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
  • FRANCO MATA, Ángela (2010): Arte leonés (siglos IV-XVI) fuera de León, Edilesa, Trobajo del Camino (León), pp. 74-75.
  • FRANCO MATA, Ángela (1988): "Arte medieval cristiano leonés en el Museo Arqueológico Nacional", nº 71, Tierras de León, pp. 53-54.
  • FRANCO MATA, Ángela (1993): Catálogo de la escultura gótica en el Museo Arqueológico Nacional, Ministerio de Cultura, Madrid, pp. 29-30.
  • GILLERMAN, Dorothy (2001): Gothic Sculpture in America, vol. II, Brepols, Turnhout, pp. 175-176.
Citation:

Isabel Escalera Fernández, "Virgin. Part of a Calvary" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/538

Virgin. Part of a Calvary

Detroit Institute of Art.

Detroit Institute of Art.

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