Madonna and Child Sedes Sapientiae “Throne of Wisdom” Devotional Wood Statue

Really well done, cool hand carved man. I thought this was a piece of American folk art. I am now told that it’s possibly African in origin. So I’m not completely sure either way. I ...

Very kool piece of African art. I am not exactly sure how old, but from bottom of base I would guess 1st quarter of 20th century. It is all wood and depicts wh...

Preston L Prescott (1898-1988) Stone Sculpture of a Seated Young Woman 5.5"W x 3.25"D x 12"H

This sculpture is an antique Chinese lacquered and polychrome-painted wood figure dating from late in the Qing Dynasty (1644–1911). Hand-carved from a single piece of wood, set on an...

Exceptional virgin and child in majesty or “Sedes Sapientiae”, throne of wisdom Origin: southwestern France. Period: late 12th - early 13th cen...

IMPORTANT SEDES SAPIENTIAE VIRGIN AND CHILD ALSO CALLED « THRONE OF WISDOM » ORIGIN: FRANCE, BURGUNDY PERIOD: EARLY 13th CENTURY Height : 75 cm Len...

Virgin and child sedes sapientiae, seat of holy wisdom Origin : Northern Spain, castile, navarre or galicia. Period : early 13th century. Heigh...

VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"   ORIGIN : SPAIN, CATALOGNE PERIOD: EARLY 13th CENTURY   Height :  95 cm Width : 32 cm Depth : 28 cm   Softwood No polychromy     In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom. At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.   The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.   Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.   She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.   The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.   The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.   As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.   The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.   These few characteristics allow dating this Spanish Virgin...