{"id":337721,"date":"2026-07-12T16:29:49","date_gmt":"2026-07-12T14:29:49","guid":{"rendered":"https:\/\/tiberius-auctions.com\/?post_type=product&#038;p=337721"},"modified":"2026-07-12T16:32:14","modified_gmt":"2026-07-12T14:32:14","slug":"flying-angels","status":"publish","type":"product","link":"https:\/\/tiberius-auctions.com\/en\/flying-angels\/","title":{"rendered":"Museum-quality pair of flying angels"},"content":{"rendered":"<p>Museum-quality pair of flying angels<br \/>\nBrabant\/Brussels<br \/>\nc. 1500<br \/>\nOak, carved in the round<br \/>\nHeight 40\/38 cm<\/p>\n<p>These two figures depict a pair of flying angels, crafted around 1500 in the province of Brabant in Flanders. They are carved from oak and measure 38\u201340 cm. The angels can be attributed to the Circle of Jan Borman the Elder, a prominent Flemish master carver of the Late Gothic and Dutch Renaissance periods, who was active in Brussels between 1479 and 1520.<br \/>\nHe was the founder of a Brabant dynasty of sculptors and joined a woodcarvers\u2019 guild in Brussels in 1479. The St. George Altarpiece for the Onze-Lieve-Vrouw van Ginderbuyten Chapel in Leuven, which he may have created together with his son Jan Bormann the Younger in 1493, is considered the signature work of this family of sculptors. In 1511, he was also commissioned to create wooden models for the tombs of the Duke and Duchess of Brabant.<br \/>\nThe angels are depicted in an elongated, Mannerist style with dynamic poses; their angled legs and billowing robes suggest that the angels are likely in mid-flight. The slits for the separately carved and later attached wings are clearly visible on the backs of the fully rounded figures. Particularly impressive is the richly adorned clothing, featuring differently decorated tops with an artful, ornate textile surface. The long, tubular folds of the drapery are also typical of Brabant woodcarvings. Particularly characteristic, however, are the short, almost weightless, voluminous curls of hair, which are parted in the center and end in two small curls above the forehead. This stylistic feature is comparable to a figure in the Arenberg Lamentation from 1470\u201380 (Detroit Institute of Arts, Inv. No. 61.164) or the Candlestick Angels from around 1500 (Detroit Institute of Arts, Inv. No. 25.18\u201319). Further comparable examples can be found at the Cleveland Museum of Art (Inv. No. 1948.475) and in a 2019 Sotheby\u2019s auction (Lot 21), with the latter angel figure featuring a similar mane of hair as well as the same slit-like openings on the back where wings must originally have been attached. However, the angels presented here are far more richly decorated, as is often seen in Jan Borman\u2019s carved figures. His style is particularly associated with meticulously carved decorative details in the contemporary costumes and elaborate hairstyles, as well as with dynamic poses.<br \/>\nThe serene, benevolent faces\u2014with almond-shaped eyes, straight noses, and small mouths\u2014are turned downward, seemingly gazing down at the viewer.<br \/>\nThe faces, which appear almost individual, convey a lifelike expression of devout piety, emphasized by the hands clasped in prayer. In this way, the heavenly beings demonstrate to the faithful the posture they should adopt. Since the demand for altars for private devotion had been rising since the 15th century, these figures may have been part of an altar for a representative house chapel. In this context, the early 16th-century carved altar from Brussels, now in the Schn\u00fctgen Museum in Cologne, is very similar. This represents an extremely rare opportunity to acquire a work from the Circle of this important dynasty of sculptors\u2014and, in particular, two figures of museum quality from the Dutch Renaissance.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Museum-quality pair of flying angels Brabant\/Brussels c. 1500 Oak, carved in the round Height 40\/38 cm These two figures depict a pair of flying angels, crafted around 1500 in the province of Brabant in Flanders. They are carved from oak and measure 38\u201340 cm. The angels can be attributed to the Circle of Jan Borman [&hellip;]<\/p>\n","protected":false},"featured_media":337723,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[229],"product_tag":[],"class_list":{"0":"post-337721","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>Museum-quality pair of flying angels | Directsale - Tiberius<\/title>\n<meta name=\"description\" content=\"Museum-quality pair of flying angels - in Tiberius Auctions&#039; direct sales. 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paar fliegende Engel","post_content":"Museales paar fliegende Engel\r\nBrabant\/Br\u00fcssel\r\nUm 1500\r\nEichenholz, vollrund geschnitzt\r\nH\u00f6he 40\/38 cm\r\n\r\nBei diesen zwei Figuren handelt es sich um ein Paar fliegender Engel, die um 1500 in der Provinz Brabant in Flandern gefertigt wurden. Sie sind aus Eichenholz geschnitzt und haben die Ma\u00dfe 38-40 cm. Die Engel k\u00f6nnen dem Umkreis von Jan Borman dem \u00c4lteren, einem bedeutenden fl\u00e4mischen Schnitzmeister der Sp\u00e4tgotik bzw. der niederl\u00e4ndischen Renaissance, zugeschrieben werden, welcher zwischen 1479 und 1520 in Br\u00fcssel t\u00e4tig war. Er war Begr\u00fcnder einer Brabanter Bildhauerdynastie und trat im Jahr 1479 einer Bildschnitzer-Gilde in Br\u00fcssel bei. Als Referenzwerk dieser Bildhauerfamilie gilt das Heiligen-Georg-Retabel f\u00fcr die Kapelle Onze-Lieve-Vrouw van Ginderbuyten in L\u00f6wen, welches er m\u00f6glicherweise zusammen mit seinem Sohn Jan Bormann dem J\u00fcngeren im Jahr 1493 ausf\u00fchrte. Im Jahr 1511 bekam er au\u00dferdem den Auftrag, Holzmodelle f\u00fcr die Grabm\u00e4ler f\u00fcr den Herzog und die Herzogin von Brabant herzustellen.\r\nDie Engel sind in gel\u00e4ngt-manieristischer, bewegter Form gezeigt; die abgewinkelten Beine und das aufgewirbelte Gewand verraten, dass sich die Engel wohl gerade im Flug befinden. Die Schlitze der separat geschnitzten und sp\u00e4ter angest\u00fcckten Fl\u00fcgel sind deutlich am R\u00fccken der vollrund ausgef\u00fchrten Figuren zu sehen. Besonders eindrucksvoll ist die reich verzierte Kleidung mit unterschiedlich dekorierten Oberteilen mit kunstvoller, ornamentenreicher Textiloberfl\u00e4che. Typisch f\u00fcr Schnitzereien aus Brabant sind hierbei auch die langen, schlauchf\u00f6rmigen Falten der Draperie. Besonders charakteristisch sind jedoch die kurzen, beinahe schwerelos-\u00fcppigen Haarlocken, die im Mittelscheitel geteilt sind und in zwei kleinen L\u00f6ckchen \u00fcber der Stirn m\u00fcnden. Diese Auspr\u00e4gung ist vergleichbar mit einer Figur des Arenberger Klagebilds von 1470-80 (Detroit Institute of Arts, Inv.-Nr. 61.164) oder den Leuchterengeln um 1500 (Detroit Institute of Arts, Inv.-Nr. 25.18-19). Weitere Vergleichsbeispiele befinden sich im Cleveland Museum of Art (Inv.-Nr. 1948.475) und in einer Auktion von Sotheby\u2019s aus dem Jahr 2019 (Lot 21), wobei letztere Figur eines Engels eine \u00e4hnliche Haarpracht hat sowie dieselben schlitzartigen \u00d6ffnungen am R\u00fccken aufweist, wo sich urspr\u00fcnglich angest\u00fcckte Fl\u00fcgel befunden haben mussten. Jedoch sind die hier vorgestellten Engel weitaus reicher verziert, wie dies h\u00e4ufig bei den Schnitzfiguren von Jan Borman zu sehen ist. Sein Stil wird besonders mit sorgf\u00e4ltig geschnitzten dekorativen Details der zeitgen\u00f6ssischen Kost\u00fcme und kunstvollen Haaren sowie mit dynamischen Posen in Verbindung gebracht.\r\nDie besonnen-g\u00fctigen Gesichter mit mandelf\u00f6rmigen Augen, geraden Nasen und kleinen M\u00fcndern sind nach unten gerichtet, wohl auf den Betrachter herabschauend. Die fast individuell wirkenden Gesichter zeugen von einem lebensnahen Ausdruck expressiver Fr\u00f6mmigkeit, die durch die zum Gebet gefalteten H\u00e4nde betont wird. Dadurch zeigen die Himmelsgesch\u00f6pfe den Gl\u00e4ubigen vor, welche Haltung sie einnehmen sollen. Da seit dem 15. Jahrhundert die Nachfrage nach Alt\u00e4ren f\u00fcr die private Fr\u00f6mmigkeit stieg, k\u00f6nnte es sich hier um Figuren eines Altars f\u00fcr eine repr\u00e4sentative Hauskapelle handeln. Sehr verwandt ist in diesem Zusammenhang aus der Br\u00fcsseler Schnitzaltar vom Anfang des 16. Jahrhunderts aus dem Museum Schn\u00fctgen in K\u00f6ln. Es handelt sich um eine \u00e4u\u00dferst seltene Gelegenheit, ein Werk aus dem Umkreis dieser bedeutenden Bildhauerdynastie und gleich zwei Figuren in musealer Ausf\u00fchrung der niederl\u00e4ndischen Renaissance zu erwerben."},"en":{"id":"337721","post_title":"Museum-quality pair of flying angels","post_content":"Museum-quality pair of flying angels\r\nBrabant\/Brussels\r\nc. 1500\r\nOak, carved in the round\r\nHeight 40\/38 cm\r\n\r\nThese two figures depict a pair of flying angels, crafted around 1500 in the province of Brabant in Flanders. They are carved from oak and measure 38\u201340 cm. The angels can be attributed to the Circle of Jan Borman the Elder, a prominent Flemish master carver of the Late Gothic and Dutch Renaissance periods, who was active in Brussels between 1479 and 1520.\r\nHe was the founder of a Brabant dynasty of sculptors and joined a woodcarvers\u2019 guild in Brussels in 1479. The St. George Altarpiece for the Onze-Lieve-Vrouw van Ginderbuyten Chapel in Leuven, which he may have created together with his son Jan Bormann the Younger in 1493, is considered the signature work of this family of sculptors. In 1511, he was also commissioned to create wooden models for the tombs of the Duke and Duchess of Brabant.\r\nThe angels are depicted in an elongated, Mannerist style with dynamic poses; their angled legs and billowing robes suggest that the angels are likely in mid-flight. The slits for the separately carved and later attached wings are clearly visible on the backs of the fully rounded figures. Particularly impressive is the richly adorned clothing, featuring differently decorated tops with an artful, ornate textile surface. The long, tubular folds of the drapery are also typical of Brabant woodcarvings. Particularly characteristic, however, are the short, almost weightless, voluminous curls of hair, which are parted in the center and end in two small curls above the forehead. This stylistic feature is comparable to a figure in the Arenberg Lamentation from 1470\u201380 (Detroit Institute of Arts, Inv. No. 61.164) or the Candlestick Angels from around 1500 (Detroit Institute of Arts, Inv. No. 25.18\u201319). Further comparable examples can be found at the Cleveland Museum of Art (Inv. No. 1948.475) and in a 2019 Sotheby\u2019s auction (Lot 21), with the latter angel figure featuring a similar mane of hair as well as the same slit-like openings on the back where wings must originally have been attached. However, the angels presented here are far more richly decorated, as is often seen in Jan Borman\u2019s carved figures. His style is particularly associated with meticulously carved decorative details in the contemporary costumes and elaborate hairstyles, as well as with dynamic poses.\r\nThe serene, benevolent faces\u2014with almond-shaped eyes, straight noses, and small mouths\u2014are turned downward, seemingly gazing down at the viewer.\r\nThe faces, which appear almost individual, convey a lifelike expression of devout piety, emphasized by the hands clasped in prayer. In this way, the heavenly beings demonstrate to the faithful the posture they should adopt. Since the demand for altars for private devotion had been rising since the 15th century, these figures may have been part of an altar for a representative house chapel. In this context, the early 16th-century carved altar from Brussels, now in the Schn\u00fctgen Museum in Cologne, is very similar. This represents an extremely rare opportunity to acquire a work from the Circle of this important dynasty of sculptors\u2014and, in particular, two figures of museum quality from the Dutch Renaissance."}},"image":"https:\/\/tiberius-auctions.com\/wp-content\/uploads\/2026\/07\/DIR_160-768x576.jpg","ask":32700,"bidsteps":[],"_links":{"self":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product\/337721","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\/337721\/revisions"}],"predecessor-version":[{"id":337735,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product\/337721\/revisions\/337735"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/media\/337723"}],"wp:attachment":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/media?parent=337721"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_brand?post=337721"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_cat?post=337721"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_tag?post=337721"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}