Miniature altar, boxwood and silver, c. 1500–20, Netherlandish. Height: 9.3cm. Victoria and Albert Museum, London
The Miniature Altarpiece (or Miniature Altarpiece: Anna Selbdritt)[1][2] in the Victoria and Albert Museum, London, is a small, 9.3cm high, Gothic boxwood miniaturetriptych completed in the Netherlands c. 1500-1520. The central carving is made from boxwood and shows a relief of the Virgin and Child attended by two saints, thought to be Anne, who is shown with wings and holding a large crucifix, and James the Great who wears a hat and holds a staff.[3] The outer semi-circular wings and shell are lined with silver[4] and decorated with foliate designs. It stands on a silver plinth with pierced quatrefoils, and topped by a cherub's head and a statuette of God the Father. It is thought the silver-work was added between 1550-1570.[1]
Two lay figures keel at prayer desks before the saints;[1] presumably there are the object's donors or commissioners.[4] The man is on the viewers left is presented by St. James, the woman is on our right and presented by St. Michael.[1]
The sculpture's dimensions are 89.6mm ×34.5mm ×20mm (3.53in ×1.36in ×0.79in). It has the accession number 225-1866, having been acquired for £14 at the Le Charpentier sale at the Hôtel Drouot on 23 May 1866. There is no record of its provenance before this point. It is not currently on display.[1]
Gerard David was an Early Netherlandish painter and manuscript illuminator known for his brilliant use of color. Only a bare outline of his life survives, although some facts are known. He may have been the Meester gheraet van brugghe who became a master of the Antwerp guild in 1515. He was very successful in his lifetime and probably ran two workshops, in Antwerp and Bruges. Like many painters of his period, his reputation diminished in the 17th century until he was rediscovered in the 19th century.
According to Christian apocryphal and Islamic tradition, Saint Anne was the mother of Mary and the maternal grandmother of Jesus. Mary's mother is not named in the canonical gospels. In writing, Anne's name and that of her husband Joachim come only from New Testament apocrypha, of which the Gospel of James seems to be the earliest that mentions them. The mother of Mary is mentioned but not named in the Quran.
Gothic art was a style of medieval art that developed in Northern France out of Romanesque art in the 12th century AD, led by the concurrent development of Gothic architecture. It spread to all of Western Europe, and much of Northern, Southern and Central Europe, never quite effacing more classical styles in Italy. In the late 14th century, the sophisticated court style of International Gothic developed, which continued to evolve until the late 15th century. In many areas, especially Germany, Late Gothic art continued well into the 16th century, before being subsumed into Renaissance art. Primary media in the Gothic period included sculpture, panel painting, stained glass, fresco and illuminated manuscripts. The easily recognizable shifts in architecture from Romanesque to Gothic, and Gothic to Renaissance styles, are typically used to define the periods in art in all media, although in many ways figurative art developed at a different pace.
Hedalen Stave Church is a parish church of the Church of Norway in Sør-Aurdal Municipality in Innlandet county, Norway. The stave church is located in the Hedalen valley. It is the church for the Hedalen parish which is part of the Valdres prosti (deanery) in the Diocese of Hamar. The brown, wooden stave church was built in a cruciform design around the year 1160 using plans drawn up by an unknown architect. The church seats about 210 people.
Dieric Bouts was an Early Netherlandish painter. Bouts may have studied under Rogier van der Weyden, and his work was influenced by van der Weyden and Jan van Eyck. He worked in Leuven from 1457 until his death in 1475.
Michael Pacher was a painter and sculptor from Tyrol active during the second half of the fifteenth century. He was one of the earliest artists to introduce the principles of Renaissance painting into Germany. Pacher was a comprehensive artist with a broad range of sculpting, painting, and architecture skills producing works of complex wood and stone. He painted structures for altarpieces on a scale unparalleled in North European art.
St. Nicholas Church is a medieval church building in Tallinn (Reval), Estonia. It was dedicated to Saint Nicholas, the patron of the fishermen and sailors. Originally built in the 13th century, it was partially destroyed in the Soviet bombing of Tallinn in World War II. The building itself has since been restored, however, as a church without own congregation, it has not been used for regular religious activities since World War II. At present it houses the Niguliste Museum, a branch of the Art Museum of Estonia, focusing mainly on ecclesiastical art from the Middle Ages onward. It is also used as a concert hall.
The Virgin and Child with Saint Anne or Madonna and Child with Saint Anne is a subject in Christian art showing Saint Anne with her daughter, the Virgin Mary, and her grandson Jesus. This depiction has been popular in Germany and neighboring countries since the 14th century.
The St John Altarpiece is a large oil-on-oak hinged-triptych altarpiece completed around 1479 by the Early Netherlandish master painter Hans Memling. It was commissioned in the mid-1470s in Bruges for the Old St. John's Hospital (Sint-Janshospitaal) during the building of a new apse. It is signed and dated 1479 on the original frame – its date of installation – and is today still at the hospital in the Memling museum.
The Mystic Marriage of St. Catherine is a c. 1480 oil-on-oak painting by the Early Netherlandish painter Hans Memling, now in the Metropolitan Museum of Art, New York. The panel shows an enthroned Virgin holding the Child. St Catherine of Alexandria and St Barbara are seated alongside. Angels playing instruments flank the throne, while the male figure to left is presumably the person who commissioned it as a devotional donor portrait.
Gothic boxwood miniatures are very small Christian wood sculptures produced during the 15th and 16th centuries in the Low Countries, at the end of the Gothic period and during the emerging Northern Renaissance. They consist of highly intricate layers of reliefs, often rendered to nearly microscopic level, and are made from boxwood, which has a fine grain and high density suitable for detailed micro-carving. There are around 150 surviving examples; most are spherical rosary beads, statuettes, skulls, or coffins; some 20 are in the form of polyptychs, including triptych and diptych altarpieces, tabernacles and monstrances. The polyptychs are typically 10–13 cm in height. Most of the beads are 10–15 cm in diameter and designed so they could be held in the palm of a hand, hung from necklaces or belts, or worn as fashionable accessories.
Prayer nuts or Prayer beads are very small 16th century small Gothic boxwood miniature sculptures, mostly originating from the north of today's Holland. They are typically detachable and open into halves of highly detailed and intrinsic Christian religious scenes. Their size varies between the size of a walnut and a golf ball. They are mostly the same shape, decorated with carved openwork Gothic tracery and flower-heads. Most are 2–5 cm in diameter and designed so they could be held in the palm of a hand during personal devotion or hung from necklaces or belts as fashionable accessories.
Miniature Altarpiece with the Crucifixion is a very small and complex early 16th century Netherlandish microcarved miniature sculpture in boxwood, now in The Cloisters, New York. The central carvings of the upper triptych show the Crucifixion and Resurrection of Jesus, each outer wing contains two scenes from the biblical Old Testament. The complex base contains a round carving which opens like a boxwood prayer nut.
Half of a Prayer Bead with the Lamentation, refers to a pair of Gothic boxwood miniature medallions originating from Flanders around the early 16th century, probably between 1490-1530. Made from boxwood and silver, they were originally the interiors of a prayer nut.
Hans Wydyz or Weiditz the Elder (c.1470–1520) was a sculptor and artist operating in Germany in the early 16th century. His work is usually signed H. W. near the base. He sculpted mainly in wood and also created woodcuts.
The miniature altarpiece in the British Museum, London, is a very small portable Gothic boxwood miniature sculpture completed in 1511 by the Northern Netherlands master sometimes identified as Adam Dircksz, and members of his workshop. At 25.1 cm (9.9 in) high, it is built from a series of architectural layers or registers, which culminate at an upper triptych, whose center panel contains a minutely detailed and intricate Crucifixion scene filled with multitudes of figures in relief. Its outer wings show Christ Carrying the Cross on the left, and the Resurrection on the right.
The Adoration of the Magi altarpiece is a small Gothic boxwood miniature, made in the Netherlands c.1500–1530, attributed to the workshop of Adam Dircksz. Such rarefied and highly ornate objects were intended for private devotion, tand took, by modern art historian estimates, decades to complete, periods equivalent to the entire career of a medieval master carver. Although it is not known how many of these late 15th and early 16th century sculptures were produced, only some 150 examples survive, and they were highly sought after by the upper echelon of collectors in the 19th century.
The Miniature Altarpiece is a Gothic boxwood miniature in the form of a small altarpiece, made in the Netherlands c.1520-1530, probably by the workshop of Adam Dircksz, about whom almost nothing is known. It has been held by the Louvre since 1901, but is not on public display. It was displayed with other boxwood miniatures in 2016–17 in an exhibition that visited the Art Gallery of Ontario, the Metropolitan Museum of Art and the Rijksmuseum.
The name miniature altarpiece may refer to several different Gothic boxwood miniatures:
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