Nativity

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Images(4)

Datec. 1500-1510

MediumLimewood with polychrome and gilding

DimensionsOverall: 53 1/2 x 53 1/2 x 12 in. (135.9 x 135.9 x 30.5 cm)

Credit LineGift of Robert S. Ludwig, Class of 1972

Object number2009.6

On view

DescriptionGiven its size and diorama-like form, this elaborate relief sculpture was likely one of multiple panels making up a winged altarpiece. It depicts a Nativity scene—set in the manger where Christ was born—and includes the infant Jesus lying in a wicker basket supported by two angels; his mother, the Virgin Mary; her husband, Joseph; and a shepherd minding his sheep, seen through a window in the background. Joseph probably originally held a staff, candle, or lantern, which is now missing, as are the wings of both angels. The compositional arrangement is unusual, for both Mary and Joseph look not toward the baby Jesus but rather downward, toward the space that would have been occupied by the altar, thus linking the scene of Jesus’s birth to his eventual death and sacrifice. The work was carved primarily from three joined pieces of linden wood (also called limewood), with some additional wood elements, such as the canopy at the upper left and other details now missing, applied prior to painting and gilding. On the basis of style and technique, it has been attributed to the North Tyrol region and specifically to the city of Schwaz. North Tyrol was the first part of Austria to demonstrate signs of Renaissance influence in the early sixteenth century, probably thanks to its proximity to northern Italy. Schwaz, which owed its prosperity to silver mining, was a center of artistic innovation and the second-largest city in the Habsburg Empire at the time. Although the relief shows technical developments associated with the Renaissance, such as the illusion of depth and the absence of halos, the subject matter and compositional choices (such as Mary’s placement in bed) are typical of Late Gothic art, indicating that the work may have been transitional or have intentionally harked back to earlier prototypes, possibly even intentionally quoting an older altarpiece that may have existed on site. The relief was donated to the Emerson Gallery by Robert S. Ludwig, Class of 1972, in 2009 after being on extended loan to the gallery since 2001. It was formerly owned by Richard Oertel (1865–1943), a German art historian with a very strong collection of early German wood carvings. (SOURCE: Alcauskas, INNOVATIVE APPROACHES, HONORED TRADITIONS, 2017) This small but elaborate altarpiece was primarily carved from three logs of limewood with some additional wooden elements applied prior to being painted and gilded. Its size and diorama-like form suggests that it was created for the shrine of a small altar. The work depicts the nativity scene, a representation of the birth of Christ, and includes the infant Jesus supported on a cloth by two angels, his mother the Virgin Mary, his father Joseph, and a shepherd in the background. North Tyrol, where this artwork was made, was the first region in which Austrian art began to show signs of Renaissance influence in the early sixteenth century. An increased prosperity due to silver mining allowed the city of Schwaz to become a center of artistic innovation. Although this piece shows elements of technical developments from the Renaissance, its religious subject matter and basic form are typical of Gothic Medieval art. (SOURCE: Wellin Museum permanent collection label, August 2016)

Collections

Additional Details

Alternate Titles Schwaz Nativity

Exhibition History 2017
Clinton, NY (Ruth and Elmer Wellin Museum of Art, Hamilton College). "Innovative Approaches, Honored Traditions: The Ruth and Elmer Wellin Museum of Art at Five Years, Highlights from the Permanent Collection," September 9 - December 10, 2017 (cat. no. 20, illus.);

2012
Clinton, NY (Ruth and Elmer Wellin Museum of Art, Hamilton College), "Case Histories: The Hidden Meaning of Objects," October 6, 2012 - (no catalog);

2011
Clinton, NY (Fred L. Emerson Gallery, Hamilton College), "Stations, Revelations, and The Holy Artwork," September 13, 2010 -January 2, 2011 (no cat.);

2004
Clinton, NY (Fred L. Emerson Gallery, Hamilton College), "Nuremberg 1493," February 28 - April 11, 2004 (no catalog);

2001
Clinton, NY (Fred L. Emerson Gallery, Hamilton College), "The Mother of God: Iconographic Representations of Mary," November 2 - December 21, 2001;

1996
London, England (Sotheby's). (no. 22, ill.);

1984
Hamilton, NY (Picker Art Gallery, Colgate University), "Older Master Paintings and Sculpture: Long-Term Loans to the Picker Art Gallery";

1979
Neumeister (no. 24, ill. and cover);

1914
Kunsthalle Mannheim (no. 5);

1913
Rudolph Lepke's Kunst-Auctions-Haus (no. 150, pl. 88).

Provenance 2009: Hamilton College (Fred L. Emerson Gallery), by gift of Robert S. Ludwig;
July 4, 1996 - 2009: Robert S. Ludwig, by purchase at auction from Sotheby's, London (sale L.N6403);
1979 - 1996: British Rail Pension Fund, by purchase at auction by Neumeister, Münchner Kunstauktionhaus, "Sammlung Dr. Richard Oertel," lot 24;
1908 - 1979: Dr. Richard Oertel sold his collection at auction at Rudolf Lepke's Kunst-Auctions-Haus in 1913 (May 6-7, no. 150, pl.88), but repurchased some of the items that had sold by 1914, including this piece; a second sale of Ortel's collection occurred in 1979 long after his death;
1908: Dr. Richard Oertel (1865-1943), Munich, acquired from a private collection;
until 1908: private collection, Schwaz, Austria.

Markings Labels: White adhesive label with "24 / Die abgegebenen Gegenstände werden / [nur] gegen diesen Schein verabfolgt [the deposited objects will only be released with this ticket]" printed in black ink on verso at lower right; white adhesive label with blue border with "Edwin" in blue ink on verso at lower right.

Published References Katherine D. Alcauskas, INNOVATIVE APPROACHES, HONORED TRADITIONS: THE RUTH AND ELMER WELLIN MUSEUM OF ART AT FIVE YEARS, HIGHLIGHTS FROM THE PERMANENT COLLECTION (Clinton, NY: Wellin Museum of Art, 2017), p. 80;

J. Holladay and S. Ward, GOTHIC SCULPTURES IN AMERICA 3: THE MUSEUMS OF NEW YORK (New York City, NY: International Center or Medieval Art, 2016), no. 120, pp. 200-201;

Wecker, Menachem. "How Religious Art Makes Secular Museums Into Sacred Spaces," DESERT NEWS, (January 3, 2014): illus., 1, http://deseretnews.com/article/print/865593454/When-religious-art-is-displayed-secular-museums-may-become-sacred-spaces.html;

S. Brent Plate, STATIONS (gallery guide, Clinton, Emerson Gallery, Hamilton College, 2010), inside of tri-fold;

Neagley, L. E. "Schwaz Nativity," in Older Master Paintings and Sculpture: Long-Term Loans to the Picker Art Gallery, ed. D.F. Mosby (Hamilton, NY: 1984), p. 12-13;

Neagley, L. E. "Birth and Death: Visual Analogy in the Schwaz Nativity," The Picker Art Gallery Annual Report/Bulletin 1:3, pp. 11-19;

Muller, ed. Gotische Skulptur in Tirol (Bozen: 1976), p. 39, no. 186, ill.

"Sammlug Dr. Oertel, Munchen: Bildwerke der Gotik und Renaissance in Holz, Stein und Ton, vornehmlich deutsche Holzplastik," Kunstmarkt 10:33 (1912-13), pp. 282-87;

Baum, J. "Die Sammlung Dr. Oertel," Cicerone 5 (1913), p. 283.

Inscribed "15" and "E6633" on verso at center in white chalk.