Vierge en majesté, France, Auvergne, seconde moitié du XIIe siècle

F. Baron, Sculpture Française, I Moyen Age, musée du Louvre, catalogue, Paris, 1996,
p. 33.; La Vierge dans la Statuaire du Cantal, cat. exp. Aurillac, 1989, p. 44-45, n° 13.

Very good condition overall with remains of original polychromy and some worming to the lower edges and sides of the sculpture, the Virgin's shoulders and back. The Virgin's face appears to may have been repolished and the paint retouched, the nose may have been restored. There is worming to the top of Her head forming an open crack wich continues half down her back, the crown with some lacks.The Child has been carved separately and is attached to his Mother with an old hinge. The Child's proper right shoulder and back, as well as his proper right hand with some worming. The lower back and sides are reinforced with two old wood panels, maybe reminiscences of a throne. Very rare and good sculpture , made of walnut, in overall good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

La Vierge en majesté, ou Sedes Sapientiae, est assise sur un trône et tient l'Enfant devant elle. Elle est tout à fait caractéristique de la sculpture romane du milieu du XIIe siècle de la région du Cantal. Souvent leur dos est creux afin d'abriter des reliques. Le sujet puise ses origines dans la statuaire gallo-romaine. La position frontale ainsi que le traitement de la robe en fins plis s'inspire de l'iconographie des mosaïques et fresques byzantines. La Vierge de Notre-Dame de Claviers, à Moussages (op.cit, n° 13), louée par Malraux dans son Musée imaginaire, une autre au musée des Beaux Arts de Lyon (Inv. B 1751), ainsi que celle du Metropolitain museum à New York comptent parmi les exemples les plus importants. Une Vierge à l'Enfant commandée par l'évêque Etienne II en 946 pour la cathédrale de Clermont fut décrite ainsi :.'Ame de bois, recouverte de feuilles d'or. Respectant les lois de la frontalité, elle est assise sur un trône à arcades comme Jérusalem soutient la chrétienté. Elle est trône de son fils qui témoigne de la toute Puissance divine en bénissant de la main droite.'