{"id":337487,"date":"2026-07-12T15:32:57","date_gmt":"2026-07-12T13:32:57","guid":{"rendered":"https:\/\/tiberius-auctions.com\/?post_type=product&#038;p=337487"},"modified":"2026-07-12T15:36:17","modified_gmt":"2026-07-12T13:36:17","slug":"monumental-christ","status":"publish","type":"product","link":"https:\/\/tiberius-auctions.com\/en\/monumental-christ\/","title":{"rendered":"Monumental Christ"},"content":{"rendered":"<div class=\"elementor-element elementor-element-895eb11 elementor-widget elementor-widget-theme-post-title elementor-page-title elementor-widget-heading\" data-id=\"895eb11\" data-element_type=\"widget\" data-widget_type=\"theme-post-title.default\">\n<div class=\"elementor-widget-container\">\n<p>Monumental Christ<br \/>\nStyria<br \/>\nc. 1490<br \/>\nCarved from linden wood<br \/>\nTraces of polychromy<br \/>\nHeight 150 cm<\/p>\n<p>About the life-size crucifix<br \/>\nWith its \u201csack\u201d-like, drooping corpus\u2014whose left shoulder joint suggests that the arms were originally intended to be depicted in a diagonally ascending pose, and which is also missing its feet\u2014 what is particularly striking is the subtle formal interpretation of the flesh tones and the ribbed articulation of the strands of hair\u2014captured in its sculptural surfaces\u2014which are rendered as large, sweeping waves cascading down the sides and\u2014above all\u2014in the physiognomic expression, in which the pain previously endured seems to have settled into a frozen calm. In striking contrast to the emphatically vertical posture of the body\u2014whose axial alignment is given a tension-filled nuance by the gentle tilt of the upper body to the left and in harmony with the parallel positioning of the legs\u2014the head, tilted to the left, with its intense facial expression in the strikingly forward-leaning pose, reveals\u2014despite the subject\u2019s \u201cstate of death\u201d\u2014 a distinctly vital and at the same time expressive element in the sculptural realization. It is precisely this articulated tilt of the head, in conjunction with the anatomically precise rendering of the ribcage and the musculature around the parallel knees, that lends this sculpture that expressive tension\u2014a quality that grants this crucifix its obvious \u201cspecial status\u201d compared to numerous thematically similar carved works. Between the \u201canatomically\u201d accurate depictions of the chest and the legs, the loincloth\u2014with its pointed, parabolic, downward-pressing folds and the drapery ends hanging down at the sides of the hips\u2014creates a restless contrast, much like the one to the lively \u201ccondensations of form\u201d in the hair on the head. Incidentally, both the latter and the former are the only areas within this sculpture where remnants of the presumed polychromy can be found in varying degrees. Similarly, the \u201cundulating\u201d surface of the chest clearly distinguishes the area of the heart and lungs in contrast to the sunken pit of the stomach\u2014and the strikingly linear lance wound precisely at the right costal arch, by virtue of its suddenness, serves as an effective counterpoint to the \u201cnoble, smoothed\u201d flesh tone\u2014 this artistic methodology culminates in the physiognomy, where the high, \u201cdome-shaped,\u201d gracefully curved forehead, in harmony with the widely arched eyebrows and their continuous transition to the long nose\u2014in coordination with the deep-set eye sockets and their almost completely closed eyelids, which are rendered in stereometric curvature\u2014as well as the \u201cspherically curved\u201d cheeks in the upward-curving \u201ccrescent moon\u201d-like mouth, separated by the beard, the \u201cagony of death\u201d previously endured\u2014now \u201cat rest\u201d\u2014is expressed in a restrained synthesis.<br \/>\nAlthough numerous narrow cracks of varying lengths can be observed throughout the entire corpus within this monolithic block of wood\u2014suggesting that the figure was likely exposed to the open air for extended periods\u2014the absence of such cracks on the head is explained precisely by the head\u2019s pronounced tilt, which effectively served as a \u201cshield\u201d-like protection! As much as the repeatedly mentioned tilt of Christ\u2019s head\u2014in this exceptionally striking form and in addition to the intense contrast with the \u201csack-like\u201d hanging body\u2014may initially seem disconcerting, it is precisely this circumstance that serves as an essential criterion for art-historical classification: In the so-called Styrian \u201cM\u00fchlauer Crucifix\u201d (today in Graz, Alte Galerie des Joanneum, Eggenberg Castle) from the third quarter of the 13th century\u2014which soon inspired follower works\u2014a genuinely Styrian origin is equally unmistakable for the crucifix in question, which represents an unmistakable late-Gothic variant of this type from the final decade of the 15th century. Given the outstanding sculptural quality of the carving, one may assume a prominent social milieu\u2014both on the part of the presumed patrons and, even more so, on the part of the woodcarver who executed the work. To what extent, if at all, the original intended location of this crucifix\u2014the Church of the Holy Spirit in Bruck an der Mur (completed in 1493), co-founded by the Bruck merchant Kornmesser\u2014might be relevant can, at least for the time being, be considered \u201cspeculative\u201d at best.<br \/>\nDr. Arthur Saliger<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Monumental Christ Styria c. 1490 Carved from linden wood Traces of polychromy Height 150 cm About the life-size crucifix With its \u201csack\u201d-like, drooping corpus\u2014whose left shoulder joint suggests that the arms were originally intended to be depicted in a diagonally ascending pose, and which is also missing its feet\u2014 what is particularly striking is the [&hellip;]<\/p>\n","protected":false},"featured_media":337489,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[229],"product_tag":[],"class_list":{"0":"post-337487","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-directsell","8":"first","9":"instock","10":"purchasable","11":"product-type-direct_sell","12":"berocket_lgv_grid","13":"berocket_lgv_list_grid"},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Monumental Christ | Directsale - Tiberius<\/title>\n<meta name=\"description\" content=\"Monumental Christ - in Tiberius Auctions&#039; direct sales. 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Christus","post_content":"Monumentaler Christus\r\nSteiermark\r\nUm 1490\r\nLindenholz geschnitzt\r\nReste von Polychromie\r\nH\u00f6he 150 cm\r\n\r\nZum lebensgro\u00dfen Kruzifixus\r\nIn seinem \u201eSack\u201c- artig herabh\u00e4ngenden Corpus dessen kraft des linken Schulter-Ansatzes die Arme urspr\u00fcnglich in schr\u00e4g ansteigender Pose vorzustellen sind und bei dem au\u00dferdem die F\u00fc\u00dfe fehlen, besticht vor allem die in ihren plastischen Oberfl\u00e4chen enthaltene subtile formale Interpretation des Inkarnats und der geriffelten Artikulierung der Haarstr\u00e4hnen, die seitlich in gro\u00dfformigen Wellen gleichsam herabtriefend gegeben sind und \u2013vor allem\u2014 im physiognomischen Ausdruck, in dem der zuvor inhaltlich \u00fcberstandene Schmerz scheinbar zu einer erstarrenden Ruhe gekommen ist. Im auff\u00e4lligen Kontrast zur betont vertikalen Haltung des Corpus, dessen Axialit\u00e4t durch die sanfte Neigung des Oberk\u00f6rpers nach links zu und im Akkord mit den parallel gelagerten Beinen eine spannungsintensive Nuance erf\u00e4hrt ergibt das nach links geneigte Haupt in seinem intensiven Gesichtsausdruck in der markant nach vorne geneigten Pose eine trotz des inhaltlichen \u201eerstorben Seins\u201c betont vitale und zugleich expressive Komponente in der skulpturalen Realisierung. Just diese artikulierte Neigung des Haupts verleiht dieses Skulptur im Zusammenhang mit der anatomisch exakten Wiedergabe des Brustkorbs, sowie der Muskulatur bei den parallel gelagerten Knien jenen ausdruckstarken Spannungskoeffizienten, der diesen Kruzifixus im Vergleich zu zahlreichen thematisch \u00fcbereinstimmenden geschnitzten Bildwerken seinen offensichtlichen \u201eSonderstatus\u201c verleiht. Zwischen den \u201eanatomisch\u201c exakt wiedergebenen Partien im Brustkorb und bei den Beinen \u201evermittel\u201c das Lendentuch mit seinen spitz-parabolischen, abw\u00e4rts dr\u00e4ngenden Sch\u00fcsselfalten und den an den Flanken der H\u00fcfte herabh\u00e4ngenden Draperie-Endungen einen unruhigen Kontrast, wie ein solcher zu den lebhaften \u201eFormen-Verdichtungen\u201c in den Haaren des Haupts korrespondierend wirkungsvoll ist. Sowohl bei letzteren, als auch bei ersteren sind \u00fcbrigens die einzigen Zonen innerhalb dieser Skulptur, wo in unterschiedlichen Dimensionen Reste der vorauszusetzenden Polychromierung vorzufinden sind. Analog die \u201ewogende\u201c Oberfl\u00e4che am Brustkorb deutlich den Bereich von den Herz- und Lungen- Partien im Kontrast zur einsinkenden Magengrube differenziert \u2013und der markant linear konturierte Lanzenstich just am rechten Knorpelbogen in seiner Eigenschaft des pl\u00f6tzlichen Erfolgtseins als wirkungsvoller Gegensatz zum \u201eedel gegl\u00e4tteten\u201c Inkarnat gegeben ist\u2013, so kulminiert diese gestalterische Methodik in der Physiognomie, wo die hohe \u201eKalotten\u201c artig gekurvte Stirne im Akkord mit den weit gekr\u00fcmmten Augenbrauen in deren kontinuierlichen \u00dcbergang zu langen Nase in Abstimmung auf die tiefliegenden Augenh\u00f6hlen mit ihren fast ganz geschlossenen, in stereometrischer Rundung begriffenen Lidern, sowie in den \u201esph\u00e4risch gebogenen\u201c Wangen im durch den Bart separierten, nach oben gebogenen \u201eMondsichel\u201c- artigen Mund den \u201ezur Ruhe gelangten\u201c vorherig erlittenen Todesschmerz in einem verhaltenen Subsumieren ausdr\u00fcckt.\r\nObwohl am ganzen Corpus zahlreiche, unterschiedlich lange und schmale risse innerhalb dieses monolithischen Holzblocks festzustellen sind, weshalb auf eine zumeist zeitweise Pr\u00e4senz der Figur im Freiraum geschlossen werden kann, erkl\u00e4rt sich der Umstand, dass am Haupt derartige Risse nicht vorkommen, eben aus der starken Neigung des Haupts selbst das gleichsam einen \u201eSchirm\u201c- artigen Schutz bildete! So sehr die mehrfach erw\u00e4hnte Neigung des Haupts Christi in dieser au\u00dfergew\u00f6hnlich markanten Form und zus\u00e4tzlich zum spannungsintensiven Kontrast zum \u201esackartig\u201c h\u00e4ngenden K\u00f6rper zun\u00e4chst befremden mag, so dient just dieser Umstand als essentielles Kriterium f\u00fcr eine kunsthistorische Zuordnung: Im sogenannten steirischen \u201eM\u00fchlauer Kruzifixus\u201c (heute in Graz, Alte Galerie des Joanneum, Schloss Eggenberg) aus dem 3. Viertel des 13. Jahrhunderts, das alsbald Nachfolge-Bildwerke nach sich zog, so ist auch f\u00fcr den in Rede stehenden Kruzifixus, der eine unverkennbare sp\u00e4tgotische Variante dieses Typus nunmehr im letzten Jahrzehnt des 15. Jahrhunderts darstellt, eine genuin steirische Herkunft unverkennbar. Angesichts der hervorragenden bildhauerischen Qualit\u00e4t in der Schnitzerei darf, sowohl seitens der vorauszusetzenden Auftraggeberschaft und erst recht seitens des ausf\u00fchrenden Bildschnitzers, ein wohl prominentes Milieu angenommen werden. In wie weit allenfalls die urspr\u00fcngliche Bestimmung dieses Kruzifixus f\u00fcr die von dem Brucker Handelsmann Kornmesser mitgestiftete Heilig-Geist-Kirche in Bruck an der Mur (1493 vollendet) relevant sein k\u00f6nnte kann zumindest vorl\u00e4ufig bestenfalls \u201espekulativ\u201c angenommen werden.\r\nDr. Arthur Saliger"},"en":{"id":"337487","post_title":"Monumental Christ","post_content":"<div class=\"elementor-element elementor-element-895eb11 elementor-widget elementor-widget-theme-post-title elementor-page-title elementor-widget-heading\" data-id=\"895eb11\" data-element_type=\"widget\" data-widget_type=\"theme-post-title.default\">\r\n<div class=\"elementor-widget-container\">\r\n\r\nMonumental Christ\r\nStyria\r\nc. 1490\r\nCarved from linden wood\r\nTraces of polychromy\r\nHeight 150 cm\r\n\r\nAbout the life-size crucifix\r\nWith its \u201csack\u201d-like, drooping corpus\u2014whose left shoulder joint suggests that the arms were originally intended to be depicted in a diagonally ascending pose, and which is also missing its feet\u2014 what is particularly striking is the subtle formal interpretation of the flesh tones and the ribbed articulation of the strands of hair\u2014captured in its sculptural surfaces\u2014which are rendered as large, sweeping waves cascading down the sides and\u2014above all\u2014in the physiognomic expression, in which the pain previously endured seems to have settled into a frozen calm. In striking contrast to the emphatically vertical posture of the body\u2014whose axial alignment is given a tension-filled nuance by the gentle tilt of the upper body to the left and in harmony with the parallel positioning of the legs\u2014the head, tilted to the left, with its intense facial expression in the strikingly forward-leaning pose, reveals\u2014despite the subject\u2019s \u201cstate of death\u201d\u2014 a distinctly vital and at the same time expressive element in the sculptural realization. It is precisely this articulated tilt of the head, in conjunction with the anatomically precise rendering of the ribcage and the musculature around the parallel knees, that lends this sculpture that expressive tension\u2014a quality that grants this crucifix its obvious \u201cspecial status\u201d compared to numerous thematically similar carved works. Between the \u201canatomically\u201d accurate depictions of the chest and the legs, the loincloth\u2014with its pointed, parabolic, downward-pressing folds and the drapery ends hanging down at the sides of the hips\u2014creates a restless contrast, much like the one to the lively \u201ccondensations of form\u201d in the hair on the head. Incidentally, both the latter and the former are the only areas within this sculpture where remnants of the presumed polychromy can be found in varying degrees. Similarly, the \u201cundulating\u201d surface of the chest clearly distinguishes the area of the heart and lungs in contrast to the sunken pit of the stomach\u2014and the strikingly linear lance wound precisely at the right costal arch, by virtue of its suddenness, serves as an effective counterpoint to the \u201cnoble, smoothed\u201d flesh tone\u2014 this artistic methodology culminates in the physiognomy, where the high, \u201cdome-shaped,\u201d gracefully curved forehead, in harmony with the widely arched eyebrows and their continuous transition to the long nose\u2014in coordination with the deep-set eye sockets and their almost completely closed eyelids, which are rendered in stereometric curvature\u2014as well as the \u201cspherically curved\u201d cheeks in the upward-curving \u201ccrescent moon\u201d-like mouth, separated by the beard, the \u201cagony of death\u201d previously endured\u2014now \u201cat rest\u201d\u2014is expressed in a restrained synthesis.\r\nAlthough numerous narrow cracks of varying lengths can be observed throughout the entire corpus within this monolithic block of wood\u2014suggesting that the figure was likely exposed to the open air for extended periods\u2014the absence of such cracks on the head is explained precisely by the head\u2019s pronounced tilt, which effectively served as a \u201cshield\u201d-like protection! As much as the repeatedly mentioned tilt of Christ\u2019s head\u2014in this exceptionally striking form and in addition to the intense contrast with the \u201csack-like\u201d hanging body\u2014may initially seem disconcerting, it is precisely this circumstance that serves as an essential criterion for art-historical classification: In the so-called Styrian \u201cM\u00fchlauer Crucifix\u201d (today in Graz, Alte Galerie des Joanneum, Eggenberg Castle) from the third quarter of the 13th century\u2014which soon inspired follower works\u2014a genuinely Styrian origin is equally unmistakable for the crucifix in question, which represents an unmistakable late-Gothic variant of this type from the final decade of the 15th century. Given the outstanding sculptural quality of the carving, one may assume a prominent social milieu\u2014both on the part of the presumed patrons and, even more so, on the part of the woodcarver who executed the work. To what extent, if at all, the original intended location of this crucifix\u2014the Church of the Holy Spirit in Bruck an der Mur (completed in 1493), co-founded by the Bruck merchant Kornmesser\u2014might be relevant can, at least for the time being, be considered \u201cspeculative\u201d at best.\r\nDr. Arthur Saliger\r\n\r\n<\/div>\r\n<\/div>"}},"image":"https:\/\/tiberius-auctions.com\/wp-content\/uploads\/2026\/07\/DIR_146-768x576.jpg","ask":25000,"bidsteps":[],"_links":{"self":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product\/337487","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/types\/product"}],"version-history":[{"count":1,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product\/337487\/revisions"}],"predecessor-version":[{"id":337505,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product\/337487\/revisions\/337505"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/media\/337489"}],"wp:attachment":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/media?parent=337487"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_brand?post=337487"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_cat?post=337487"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_tag?post=337487"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}