Workshop from Northern Germany or the Rhineland Region, possibly Upper Rhine (extending into northern and eastern France). Romanesque. Late 12th century 'Seat of Wisdom. Sedes Sapientiae' Carved oak wood sculpture 75 x 19 x 17 cm   The Virgin in Majesty (Sedes Sapientiae)—the Seat of Wisdom—seated solemnly on her throne of glory as queen, with the crowned Christ Child enthroned on her lap. She is shown in a frontal position, wearing a veil fastened with a fine diadem. The faces of the Virgin and Child are finely carved and reflect a severe expression. As stated in the Enciclopedia del Románico, where this piece is reproduced, in the entry by Professor Victoriano Nodar Fernández: “She wears a tunic and a mantle gathered over her shoulders with a triple border and a circular medallion. The garments form a profusion of symmetrical, deep, and marvellous folds, arranged in concentric patterns or gathered in bundles, schematically distributed at the lower part.”   This marvellous sculpture was part of the exhibition “The Madonna and Child The Eric de Kolb Collection” held at the Art Gallery University of Notre Dame between July and September 1969 and is reproduced in the catalogue as fig. 10 full page. In the text of the catalogue, the prestigious Dr. Stanley Ferber (professor of art history at the State University of New York) indicates that our piece: 'is striking for the rigid and frontal arrangement it presents, with lightly draped folds that in some way recall the French works of the School of Chartres from the mid-12th century. It is an excellent example of the hierarchical typology of the Virgin, probably of German or French origin from the 12th century, whose frontal and severe, almost frozen composition conveys a sense of firm solemnity. The Virgin’s arms are placed on the Christ Child’s knee (the right) and on his arm on the same side (the left). Reinforcing its hieratic quality, the figure also shows an almost total adherence to the block of wood from which the sculpture originates, which prevents the arms of either figure from being separated. The precise and symmetrical folds of her garments accentuate the sense of immobility and enhance the symbolic and majestic character of the figure. Although the style of the drapery invites a comparison with the sculptures of Chartres, the strict symmetry of the composition and the way the folds of the mantle are arranged point more clearly to a Byzantine influence, both stylistically and iconographically. For this reason, it is credible to place this sculpture not in France, as might be supposed at first glance, but rather in the Rhineland region'.   Provenance: – Former collection of Eric de Kolb. – Private collection, Spain   Reference bibliography: Dr. Stanley Ferber. (1969). 'The Madonna and Child Eric de Kolb Collection. The de Kolb Collection of Romanesque Art'. University of Notre Dame. Reproduced in the catalogue with image No. 10. - VV.AA. (2013). 'Enciclopedia del Románico en Galicia'. Tomo I. Pág. 389-390. Text by professor Victoriano Nodar Fernández.