400SEHR FEINE UND GROSSE IKONE MIT DER MADRE DELLA CONSOLAZIONE Auction: 71-II
SEHR FEINE UND GROSSE IKONE MIT DER MADRE DELLA CONSOLAZIONE
Hartholz-Tafel, rückseitig parkettiert. Eitempera auf Kreidegrund, Hintergrund vergoldet, Gewandfalten in Assistgold
NIKOLAOS TZAFOURIS ca. 1455 Candia/Crete - 1501 (Circle) SEHR FEINE UND GROSSE IKONE MIT DER MADRE DELLA CONSOLAZIONE A VERY FINE AND LARGE ICON SHOWING THE MADRE DELLA CONSOLAZIONE Veneto-Kretisch, um 1500 Veneto-Cretan, circa 1500 Hartholz-Tafel, rückseitig parkettiert. Eitempera auf Kreidegrund, Hintergrund vergoldet, Tempera on wood panel. The Mother of God depicted half-length on gilded wood ground wearing a blue tunic and a purple maphorion fastened at the chest with a transparent white veil draped over her hair. The orange mantle of Christ decorated with fine gold lines and the hems of the mantle of the Mother of God decorated with refined pseudo-Kufic motifs. The Mother of God holding Christ on her right arm, whilst resting her left hand lovingly on his legs, Christ holding an open scroll in one hand and making a sign of blessing with the other. The upper left corner minimally damaged, minimally restored. 59.3 x 47 cm. dunklen Chiton gekleidet, der mit goldenen Motiven verziert ist. Sein orangefarbenes The icon's Italian title refers to the suffering of Christ, as anticipated by his mother. The iconography of the Madre della Consolazione type is of western origin. It has clearly been influenced by Italian prototypes from the 14th century. The type was probably introduced to the Orthodox-Christian world by the famous icon painter Nikolaos Tzafouris in the second half of the 15th century. This icon is very similar to one of his signed icons showing the Madre della Consolazione, which is part of a Private Collection in The Netherlands. lebte und arbeitete, Erwähnung. Dieser neue Bildtypus der Muttergottesdarstellung Lit.: I. Bentchev - E. Haustein-Bartsch: Muttergottesikonen, Recklinghausen 2000, Kat. 35. S. Morsink: The Power of Icons, Amsterdam 2006, Kat. 1.