40
40
Southern Germany, circa 1470-1480
PAIR OF DONOR PANELS
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40
Southern Germany, circa 1470-1480
PAIR OF DONOR PANELS
前往

拍品詳情

古典雕塑及工藝品

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倫敦

Southern Germany, circa 1470-1480
PAIR OF DONOR PANELS
the left panel inscribed (partially legible): [...] Printzendorff, the right panel inscribed: Kasber von ... das glas lase machen, and further inscribed: MARIA ORA
stained and leaded glass
48.1 by 40.3cm., 19 by 15 7/8 in. and 47.2 by 40.3cm., 18 5/8  by 15 7/8 in. 
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來源

Eduard Ritter von Grützner, Munich;
his estate sale, Hugo Helbing Munich, 24 June 1930, lots 212 and 213;
Geheimrat Ottmar Strauss, Cologne;
his forced sale, Hugo Helbing Munich, 21-24 May 1935, lots 279 and 280;
acquired by Irmgard von Lemmers-Danforth, Wetzlar;
Lemmers-Danforth Collection, Wetzlar, inv. nos. GE 10a, b;
restituted to the heirs of Ottmar Straus, 2017

出版

W. Koeppe, Die Lemmers-Danforth Sammlung WetzlarEuropäische Wohnkultur aus Renaissance und Barock, Heidelberg 1992, no. GE 10a, b

相關資料

The present panels show the donors of these windows in prayer, one a clergyman, the other a knight. Considering their comparable coats of arms, these two donors must have been members of the same family. Donating similar types of stained glass windows to churches, which would have been an expensive undertaking in the Middle Ages, was a popular way for an individual to ensure remembrance in the local community. Intended to encourage prayer for their souls, these panels could have been placed below a larger window, which probably showed a biblical scene. Although these donors have portrayed themselves on separate panels, there are instances where donors have inserted their own image within the traditional biblical scene - as is apparent, for instance, on the east window of Holy Trinity Goodramgate, York, where donor John Walker has portrayed himself on the central panel, next to a depiction of the Trinity. 

The present panels were once part of the collection of Munich painter Eduard von Grützner (1846-1925), where they were paired with a third panel from the same workshop, which location is now unknown. The inscriptions at the bottom of the panels might give some indication towards the identification of the donors, but they have not been firmly identified. 

A report authored by Dr Heather Gilderdale Scott, Secretary to the Committee of the Corpus Vitrearum Medii Aevi (Medieval Stained Glass in Great Britain) is available upon request.

古典雕塑及工藝品

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