{"id":337507,"date":"2026-07-12T15:38:30","date_gmt":"2026-07-12T13:38:30","guid":{"rendered":"https:\/\/tiberius-auctions.com\/?post_type=product&p=337507"},"modified":"2026-07-12T15:41:02","modified_gmt":"2026-07-12T13:41:02","slug":"infant-jesus","status":"publish","type":"product","link":"https:\/\/tiberius-auctions.com\/en\/infant-jesus\/","title":{"rendered":"Infant Jesus"},"content":{"rendered":"
\n
\n

Infant Jesus
\nMechelen
\nEarly 16th century
\nCarved wood, polychromed and gilded
\nHeight 22.5 cm<\/p>\n

This small, striking sculpture from the early 16th century depicts the Infant Jesus in a style characteristic of Mechelen. The nude child stands upright, combining religious authority with childlike vitality. Particularly noteworthy are the delicate painterly touches: the flesh tones are rendered in a soft, warm manner, with rosy cheeks, chest, tummy, and knees. Thus, Christ appears not only as a divine figure but also as a very lifelike human being. The nudity emphasizes Christ\u2019s true incarnation; the child is vulnerable, innocent, and truly born human. However, this complete exposure of his body also foreshadows his later suffering and crucifixion, where he too will be laid bare.
\nExpression & Attributes
\nWith his right hand raised, the child makes the gesture of blessing or speaking\u2014a reference to his divine mission. In his left hand, he holds the orbis cruciger, the globe with a cross (which has been lost over the centuries), a symbol of his dominion over the earth and his victory through the cross. Thus, even in the form of a child, the claim is revealed that the salvation of the world comes through Christ in human form. The Infant Jesus gazes openly forward, a slight smile playing on his lips. The golden curls stand out playfully from his head\u2014a typical feature of the Mechelen figures that further enhances their liveliness.
\nMechelen as a Center
\nIn the 16th century, Mechelen was a major center of religious sculpture in the Habsburg Netherlands. From here, the small figures of the Child Jesus\u2014also known by the French name L\u2019Enfant J\u00e9sus de Malines\u2014spread to France and later to Catholic collections worldwide. Usually carved from a single piece of walnut, they served as objects of devotion in both private and monastic settings. Production, however, was aimed particularly at the private market: figures that evoked a sense of familial closeness and emphasized childlike features were in demand. The naked, standing Infant Jesus thus became a popular type because it bridged the gap between intimacy and theology. Their compact size made them portable, and their touching depiction fostered a personal devotion to Christ.<\/p>\n

An important comparable piece is now housed in the Louvre in Paris (Inv. No. RF 2009.05). There, too, the child is depicted unclothed and standing in contrapposto, with a gesture of blessing and a globe. In particular, the flat, dome-shaped hairstyle and the curls extending sideways in volutes reveal the close stylistic kinship.
\nIconographic Context
\nThis depiction is part of the long tradition of representations of the childhood of Jesus, which experienced a new flowering in the context of late medieval devotional practice. The infant Jesus was no longer shown merely as a helpless newborn, but also as a blessing, ruling over the world\u2014at once divine and human, sublime and yet approachable. The \u201crealistic\u201d and childlike appearance made devotion more accessible: people could venerate Jesus in an emotionally \u201ctangible\u201d way, not only as God but also as a small child.
\nImpact
\nThus, this Malines Infant Jesus embodies the theological and emotional depth of its time\u2014as a visible sign of Christ\u2019s presence and, at the same time, as an expression of personal, comforting piety.<\/p>\n

It impressively combines childlike grace and sacred significance.
\nBibliography
\nFanny Cayron \u2013 Delphine Steyaert, \u201cMade in Malines. Les statuettes malinoises ou poup\u00e9es de Malines de 1500\u20131540,\u201d \u00c9tude mat\u00e9rielle et typologique, Brussels 2019.
\nSophie Guillot de Suduiraut \u2013 Christine Lancestrem\u00e8re, \u201cLa production de statuettes \u00e0 Malines,\u201d in: Michele Tomasi (ed.), *L\u2019art multipli\u00e9. Production de masse, en s\u00e9rie, pour le march\u00e9 dans les arts entre Moyen \u00c2ge et Renaissance*, Rome 2011, 89\u2013103.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Infant Jesus Mechelen Early 16th century Carved wood, polychromed and gilded Height 22.5 cm This small, striking sculpture from the early 16th century depicts the Infant Jesus in a style characteristic of Mechelen. The nude child stands upright, combining religious authority with childlike vitality. Particularly noteworthy are the delicate painterly touches: the flesh tones are […]<\/p>\n","protected":false},"featured_media":337509,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[229],"product_tag":[],"class_list":{"0":"post-337507","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":"\nInfant Jesus | Directsale - Tiberius<\/title>\n<meta name=\"description\" content=\"Infant Jesus - in Tiberius Auctions' direct sales. 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16. Jahrhundert\r\nHolz geschnitzt, polychrom gefasst & vergoldet\r\nH\u00f6he 22,5 cm\r\n\r\nDiese kleine, eindrucksvolle Skulptur aus dem Anfang des 16. Jahrhundert zeigt das Jesuskind in einer f\u00fcr Mechelen charakteristischen Form. Das nackte Kind steht aufrecht und verbindet religi\u00f6se Autorit\u00e4t mit kindlicher Lebendigkeit. Besonders bemerkenswert sind die feinen malerischen Akzente: Das Inkarnat ist zart und warm gefasst, mit ger\u00f6teten Pausbacken, Brust, B\u00e4uchlein und Knien. So erscheint Christus nicht nur als g\u00f6ttliche Gestalt, sondern zugleich ganz lebensnah. Die Nacktheit betont die wahre Menschwerdung Christi; das Kind ist verletzlich, unschuldig und tats\u00e4chlich menschlich geboren. Jedoch verweist diese v\u00f6llige Offenheit seines K\u00f6rpers auch auf das sp\u00e4tere Leiden und die Kreuzigung, wo er ebenfalls entbl\u00f6\u00dft wird.\r\nAusdruck & Attribute\r\nMit der erhobenen rechten Hand zeigt das Kind den Segens- oder Sprechgestus \u2013 ein Hinweis auf seine g\u00f6ttliche Sendung. In der linken Hand h\u00e4lt es den orbis cruciger, die Weltkugel mit Kreuz (dieses ist durch die Jahrhunderte verloren gegangen), Sinnbild seiner Herrschaft \u00fcber die Erde und seines Sieges durch das Kreuz. Bereits im Kind offenbart sich so der Anspruch, dass das Heil der Welt durch Christus in menschlicher Gestalt kommt. Das Jesuskind blickt offen nach vorne, ein leichtes L\u00e4cheln umspielt seine Lippen. Die goldenen L\u00f6ckchen stehen keck vom Kopf ab \u2013 ein typisches Merkmal der Mechelener Figuren, das ihre Lebendigkeit noch steigert.\r\nMechelen als Zentrum\r\nMechelen war im 16. Jahrhundert ein bedeutendes Zentrum religi\u00f6ser Skulptur in den habsburgischen Niederlanden. Von hier verbreiteten sich die kleinen Jesusfiguren, auch unter dem franz\u00f6sischen Namen L\u2019Enfant J\u00e9sus de Malines, nach Frankreich und sp\u00e4ter in katholische Sammlungen weltweit. Meist aus einem St\u00fcck Nussholz geschnitzt, dienten sie als Andachtsobjekte im privaten wie im kl\u00f6sterlichen Bereich. Die Produktion zielte jedoch besonders auf den privaten Markt: Figuren, die famili\u00e4re N\u00e4he erzeugten und kindliche Z\u00fcge betonten, waren gefragt. Das nackte stehende Jesuskind wurde so zu einem beliebten Typus, weil es das Bindeglied zwischen Intimit\u00e4t und Theologie schuf. Ihre handliche Gr\u00f6\u00dfe machte sie transportabel, und ihre anr\u00fchrende Darstellung f\u00f6rderte eine pers\u00f6nliche Christusfr\u00f6mmigkeit.\r\nEin bedeutendes Vergleichsst\u00fcck befindet sich heute im Louvre in Paris (Inv.-Nr. RF 2009.05). Auch dort ist das Kind unbekleidet und im Kontrapost stehend dargestellt, mit Segensgeste und Weltenkugel. Besonders die flach aufliegende Kalottenfrisur und die seitlich in Voluten abstehenden Locken zeigen die enge stilistische Verwandtschaft.\r\nIkonographischer Kontext\r\nDiese Darstellung reiht sich in die lange Tradition der Kindheitsdarstellungen Jesu ein, die im Zuge der sp\u00e4tmittelalterlichen Andacht eine neue Bl\u00fcte erlebten. Das Jesuskind wurde nicht mehr nur als hilfloses Neugeborenes, sondern auch als segnender Weltenherrscher gezeigt \u2013 zugleich g\u00f6ttlich und menschlich, erhaben und dennoch nahbar. Durch das \u201erealistische\u201c und kindliche Erscheinungsbild wurde der Zugang zur Andacht erleichtert: Man konnte Jesus nicht nur als Gott, sondern auch als kleines Kind emotional \u201egreifbar\u201c verehren.\r\nWirkung\r\nSo verk\u00f6rpert dieses Mechelener Jesuskind die theologische und emotionale Tiefe seiner Zeit \u2013 als sichtbares Zeichen der Gegenwart Christi und zugleich als Ausdruck pers\u00f6nlicher, tr\u00f6stender Fr\u00f6mmigkeit. Es vereint kindliche Anmut und sakrale Bedeutung auf eindrucksvolle Weise.\r\nLiteratur\r\nFanny Cayron \u2013 Delphine Steyaert, \u201eMade in Malines. Les statuettes malinoises ou poup\u00e9es de Malines de 1500-1540\u201c, \u00c9tude mat\u00e9rielle et typologique, Brussel 2019.\r\nSophie Guillot de Suduiraut \u2013 Christine Lancestrem\u00e8re, \u201eLa production de statuettes \u00e0 Malines\u201c, in: Michele Tomasi (Hrsg.), L\u2019art multipli\u00e9. Production de masse, en s\u00e9rie, pour le march\u00e9 dans les arts entre Moyen \u00c2ge et Renaissance, Rome 2011, 89-103."},"en":{"id":"337507","post_title":"Infant Jesus","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\nInfant Jesus\r\nMechelen\r\nEarly 16th century\r\nCarved wood, polychromed and gilded\r\nHeight 22.5 cm\r\n\r\nThis small, striking sculpture from the early 16th century depicts the Infant Jesus in a style characteristic of Mechelen. The nude child stands upright, combining religious authority with childlike vitality. Particularly noteworthy are the delicate painterly touches: the flesh tones are rendered in a soft, warm manner, with rosy cheeks, chest, tummy, and knees. Thus, Christ appears not only as a divine figure but also as a very lifelike human being. The nudity emphasizes Christ\u2019s true incarnation; the child is vulnerable, innocent, and truly born human. However, this complete exposure of his body also foreshadows his later suffering and crucifixion, where he too will be laid bare.\r\nExpression & Attributes\r\nWith his right hand raised, the child makes the gesture of blessing or speaking\u2014a reference to his divine mission. In his left hand, he holds the orbis cruciger, the globe with a cross (which has been lost over the centuries), a symbol of his dominion over the earth and his victory through the cross. Thus, even in the form of a child, the claim is revealed that the salvation of the world comes through Christ in human form. The Infant Jesus gazes openly forward, a slight smile playing on his lips. The golden curls stand out playfully from his head\u2014a typical feature of the Mechelen figures that further enhances their liveliness.\r\nMechelen as a Center\r\nIn the 16th century, Mechelen was a major center of religious sculpture in the Habsburg Netherlands. From here, the small figures of the Child Jesus\u2014also known by the French name L\u2019Enfant J\u00e9sus de Malines\u2014spread to France and later to Catholic collections worldwide. Usually carved from a single piece of walnut, they served as objects of devotion in both private and monastic settings. Production, however, was aimed particularly at the private market: figures that evoked a sense of familial closeness and emphasized childlike features were in demand. The naked, standing Infant Jesus thus became a popular type because it bridged the gap between intimacy and theology. Their compact size made them portable, and their touching depiction fostered a personal devotion to Christ.\r\n\r\nAn important comparable piece is now housed in the Louvre in Paris (Inv. No. RF 2009.05). There, too, the child is depicted unclothed and standing in contrapposto, with a gesture of blessing and a globe. In particular, the flat, dome-shaped hairstyle and the curls extending sideways in volutes reveal the close stylistic kinship.\r\nIconographic Context\r\nThis depiction is part of the long tradition of representations of the childhood of Jesus, which experienced a new flowering in the context of late medieval devotional practice. The infant Jesus was no longer shown merely as a helpless newborn, but also as a blessing, ruling over the world\u2014at once divine and human, sublime and yet approachable. The \u201crealistic\u201d and childlike appearance made devotion more accessible: people could venerate Jesus in an emotionally \u201ctangible\u201d way, not only as God but also as a small child.\r\nImpact\r\nThus, this Malines Infant Jesus embodies the theological and emotional depth of its time\u2014as a visible sign of Christ\u2019s presence and, at the same time, as an expression of personal, comforting piety.\r\n\r\nIt impressively combines childlike grace and sacred significance.\r\nBibliography\r\nFanny Cayron \u2013 Delphine Steyaert, \u201cMade in Malines. Les statuettes malinoises ou poup\u00e9es de Malines de 1500\u20131540,\u201d \u00c9tude mat\u00e9rielle et typologique, Brussels 2019.\r\nSophie Guillot de Suduiraut \u2013 Christine Lancestrem\u00e8re, \u201cLa production de statuettes \u00e0 Malines,\u201d in: Michele Tomasi (ed.), *L\u2019art multipli\u00e9. Production de masse, en s\u00e9rie, pour le march\u00e9 dans les arts entre Moyen \u00c2ge et Renaissance*, Rome 2011, 89\u2013103.\r\n\r\n<\/div>\r\n<\/div>"}},"image":"https:\/\/tiberius-auctions.com\/wp-content\/uploads\/2026\/07\/DIR_147-768x576.jpg","ask":25000,"bidsteps":[],"_links":{"self":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product\/337507","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\/337507\/revisions"}],"predecessor-version":[{"id":337521,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product\/337507\/revisions\/337521"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/media\/337509"}],"wp:attachment":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/media?parent=337507"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_brand?post=337507"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_cat?post=337507"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_tag?post=337507"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}