MASTER OF LUEMSCHWILLER (active in Alsace, early 16th century) - Predella with Ecce Homo, the Virgin and Saint John (1521)

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GRAND MARCH AUCTION OF OLD MASTERS AND COLONI...

By Templum Fine Art Auctions

Mar 25, 2026

Set Reminder 2026-03-25 10:00:00 2026-03-25 10:00:00 America/New_York Bidsquare Bidsquare : GRAND MARCH AUCTION OF OLD MASTERS AND COLONIAL ART https://www.bidsquare.com/auctions/templum-fine-art-auctions/grand-march-auction-of-old-masters-and-colonial-art-22766
AUCTION · 25 MARCH · 3:00 PM EXHIBITION OPEN FROM 13 MARCH Templum Fine Art Auctions info@templumauctions.com

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• Lot Description
  Oil on panel. Dimensions: 35.2 x 125 cm. Inscription: ANNO MDXXI. This predella, dated 1521, depicts the Ecce Homo, with Christ shown to the people after the Flagellation. He appears crowned with thorns and displaying the wounds of the Passion, while on either side stand the Virgin Mary and Saint John the Evangelist, identifiable by their attributes and halos, who contemplate the Savior with an expression of restrained sorrow. The scene is arranged in a sober, frontal style, focusing attention on the three sacred figures, whose expressive intensity is reinforced by the neutral background. The work is attributed to the so-called Master of Luemschwiller, active in southern Alsace at the beginning of the 16th century and associated with the large altarpiece of the parish church of Saint Christopher in Luemschwiller, for which his workshop produced various narrative and devotional scenes. The painting reflects the artistic vitality of the region in the years immediately preceding the Reformation, when Alsace was an important cultural crossroads between the Germanic world and Renaissance currents. The pictorial language is still rooted in the late Rhenish Gothic tradition, evident in the monumentality of the faces, the direct expressiveness of the figures, and the use of intense colors. At the same time, the influence of the graphic models disseminated by Albrecht Dürer is apparent, especially in the detailed treatment of the crown of thorns and the slightly asymmetrical posture of Christ's body, elements that recall the compositions of the great German master. The inscription “ANNO MDXXI” places the work within a period of profound religious and cultural transformation in Alsace. As a predella intended for an altarpiece, its function was to position the sacred figures at the eye level of the faithful, fostering devotion and contemplation. Christ is depicted half-length, with his torso inclined and his head tilted, displaying the wounds of the Passion. The Virgin, ...
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