{"id":2484,"date":"2022-02-20T11:43:39","date_gmt":"2022-02-20T10:43:39","guid":{"rendered":"https:\/\/www.kolhammer-mahringer.at\/home\/"},"modified":"2026-06-27T18:08:39","modified_gmt":"2026-06-27T16:08:39","slug":"home","status":"publish","type":"page","link":"https:\/\/www.kolhammer-mahringer.at\/en\/","title":{"rendered":"Home"},"content":{"rendered":"\t\t
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YOUTH WITH CENSER
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With a style-critical analysis by Dr. Arthur Saliger, former curator of the medieval department in the Belvedere, Vienna and a scientific pigment analysis by Prof. Dipl.Ing. Dr. Manfred Schreiner, former head of the Institute for Science and Technology at the Academy of Fine Arts, Vienna. <\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u00cele-de-France<\/strong>
Around 1285<\/strong>
Calcium silicate brick
<\/strong>Remnants of original polychromy
; height 80 cm<\/strong><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Liturgical figure of a young man with censer<\/em><\/strong><\/p>\n

Style-critical analysis<\/strong><\/p>\n

The strikingly slender figure of a young man, dressed in a \u201ctoga\u201d-like garment and standing in an extremely steep(80 cm tall) is carved from a strikingly light-colored, fine-pored calcareous sandstone; the sculpted surface has \u201cdarkened\u201d due to patina, while the stone\u2019s natural texture remains visible on the underside of the base. <\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Since there are faint traces of polychromy in the folds of the cloak\u2014which is held in place by the raised arm angled to the right\u2014among which even fainter traces of an \u201coriginal\u201d polyment can be identified, it can be assumed with certainty that this sculpture must have been painted in its original state, a conclusion that can be drawn a priori not least from the \u201cporous\u201d surface texture. Since this sculpture has been sculpturally worked \u201con all sides,\u201d it can be reliably assumed that its original \u201clocation\u201d was, at most, within a canopy without a back wall, or\u2014more likely\u2014as a completely \u201cfree-standing\u201d \u201cacroterion\u201d figure, such as those mounted on slender pylons either atop \u201cSaint-S\u00e9pulchre\u201d (= Holy Sepulcher of Christ) monuments (see the polygonal structure from around 1260 in the cloister of Constance Cathedral, or \u2013 the openwork spire base of the \u201cMaria Stra\u00dfengel\u201d pilgrimage church near Graz, completed in 1366) as quasi-\u201carbitrary\u201d examples; or\u2014not least due to the attribute of the turribel (=incense burner)\u2014it is also conceivable in the context of a tabernacle-shaped altar canopy (=ciborium). <\/p>\n

The extremely \u201cvertically\u201d elongated, steeply curved \u201caxis\u201d of the body is perhaps most clearly revealed in its distinctive, \u201cstyle-defining\u201d posture when viewed from the back in this sculpture, with the tubular folds\u2014which \u201cfall downward\u201d from the \u201csmooth\u201d shoulder area\u2014which \u201cfall downward\u201d and gain volume as they approach the base\u2014are countered on either side by two oppositely directed (i.e., upward-striving), flap-shaped hollows, and a long, downward-pointing \u201chollow\u201d positioned centrally in relation to them, creating a lively dynamism within the genuinely \u201clong-striped\u201d drapery ensemble. Corresponding to this seemingly \u201cinitiated\u201d dynamic, on the left flank of this statue, the opposing \u201cthrusts\u201d within the cascading folds\u2014in the formally increasing individualization of the cascading folds of the cloak\u2019s drapery\u2014create increasingly \u201cangular\u201d breaks against the base. In this context, the section of the cloak covering the left, angled arm defines a cavity around the left forearm that is quite \u201ccavity-like\u201d and appears almost stereometric; this cavity\u2014due to the arrangement of the cloak\u2019s drapery \u2014is genetically motivated by the haptic character thus created by the garment enveloping the figure\u2019s body. In contrast\u2014not least due to the already described \u201cpinching\u201d gathering of the cloak drapery caused by the upward-angled right arm \u2014the right side of this sculpture below the right elbow is characterized by successively more acutely angled, yet gently softened at the \u201cknees\u201d of the garment folds, whose ascending tubular folds, on the one hand, converge toward the right forearm and, on the other hand, form strikingly curvilinear hem lines (the corresponding French term \u201ccurviligne\u201d authentically expresses this style-defining phenomenon through onomatopoeia). <\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The distinctive style of the drapery enveloping the body, described above, contrasts with the \u201cdress\u201d\u2014visible only at the upper neckline\u2014whose neckline, formed by a simple ribbon, features delicate parallel folds that seem to \u201ctrickle\u201d down.<\/p>\n

The disposition of the garment thus characterizingly described ultimately results from the individually motivated, opposing posture motif of the vectorially quite opposite, angled arms arranged closer to the chest, whose poses can be explained motivically by the strikingly “object-archaeologically” authentically rendered turribel – including the curving chain. In the chord with the higher right hand and the lower pose of the left, the “mobile” character of the finely articulated chain of the turribel is emphasized in the steeply curved course; since this very chain is held by both hands, the “hanging weightiness” of the incense burner creates its authentically comprehensible effect. <\/p>\n

The almost “spherical” head, characterized by “even features”, is distinguished in the highly oval face both by the continuously “curved” lines, consisting of the extremely gently curved brows and the emphatically narrow bridge of the nose, as well as by the emphatically narrow eye slits and the strikingly narrow mouth (in the narrow width of the nostrils of the nose!) with the barely indicated corners of the mouth. An almost “nimbus”-like, large wavy wreath of hair masses, whose linear style – despite its constant plasticity – now frames the barely oval face with the enriching use of drilling technology in the curl centers, stands out strikingly from the rounded skull calotte, which is furrowed by curvy strands of hair in the expansive, sculptural habitus. <\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Both in the slender, elongated proportions of the body, as well as in the steeply curved style of the posture and finally in the formal finesse of the sculptor’s treatment of the “surfaces” of the sculpture, it is a sculptural creation of an unmistakably “courtly” character, which allows conclusions to be drawn as to its original dedication, which was certainly representative.<\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Sculptures<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Painting<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Objects<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Publications<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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LEONTINE VON LITTROW
Trieste 1856 - 1925 Abbazia<\/h5>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Comprehensive overview of the complete works of a “master of light” who has fallen into oblivion. The complete work is now available for purchase through our gallery. <\/p>\n

Read more…<\/a><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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JOSEF STOITZNER
Vienna 1884 - 1951 Bramberg im Pinzgau<\/h5>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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W<\/strong>ou, dear lovers and collectors of Josef Stoitzner, the catalog raisonn\u00e9 of Josef Stoitzner is now available for purchase through our gallery. It contains 600 pages with over 1400 illustrations. <\/strong><\/p>\n

Read more…<\/a><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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We buy quality paintings and sculptures and antiques of all periods (antiquity to the present).<\/p>\n

Three generations of experience in the art trade at the highest level gives us the opportunity to acquire even significant objects at . We are a serious and discreet partner for single objects, whole collections and estates. <\/p>\n

We are looking forward to your contact with our gallery.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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