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Attributed to Mathieu van Beveren (ca 1635/36-1690), calvary, ivory and rosewood (+)

This small Baroque calvary in ivory and rosewood is attributed to Matheus/Mathieu Van Beveren (Antwerp ca 1635/36- Brussels 1690), 'one of the most gifted Antwerp sculptors of his generation', according to Michel Lefftz. Mathieu van Beveren was known for his small-scale works, particularly his masterfully executed ivory sculptures. Among his masterpieces in ivory are the Cupid on a Lion in the Metropolitan Museum of Art, the Maria Apocalyptica in the Rijksmuseum, the Pieta in the Cinquantenaire Museum, and the Coronation of James II in the British Royal Collections. It is noteworthy that these works offered the whiteness of large marbles in a small scale, often contrasting with ebony, just as white marble contrasted with black marble. This combination was typical of Antwerp Baroque sculpture. Van Beveren's ivory crucifixes were renowned for their quality, but few are believed to have survived, and none are signed by the sculptor or confirmed as his by contemporary documents. This leads Christian Theuerkauff to state that 'any attribution in this area is necessarily more or less hypothetical'. However, a small number of ivory crucifixes have been attributed to Van Beveren, based on style, but also on mentions in 18th-century catalogs.
Little is known about the life of Mathieu Van Beveren. Born in Antwerp in 1635/6, he was a pupil of Peter Verbruggen the Elder (1615-1686). In 1649-1650, he was admitted as a master of the Guild of Saint Luke in Antwerp, where he served as treasurer between 1660 and 1670. Widowed after a serious illness in 1653, he remarried in 1658. He had two daughters: Anna Maria and Catharina, who married the flower painter Nicolaes van Verendael. He also had two sons, Judocus and Mathieu the Younger, who also became sculptors. Mathieu van Beveren died in Brussels in 1690 and is buried in the church of Laeken.
Mathieu Van Beveren headed a large workshop. A versatile sculptor, he worked with stone, wood, ivory, and terracotta, in both monumental and small-scale works. While he produced allegorical works and portraits, his primary subject matter was religious. His works can therefore be found in the churches of Antwerp, Ghent, Dendermonde, and Brussels. Among his principal works are the Madonna adorning the monument to Gaspard Boest in the Church of Saint James in Antwerp (1665), the high altar of the Church of Saint Nicholas in Ghent (1677-78), and the altarpiece of the Virgin of Sorrows in the church of Dendermonde (1668). But Van Beveren's best-known work is undoubtedly the funerary monument he created for Lamoral II Claude-François, Count of Thurn and Taxis in the Church of Our Lady of the Sablon in Brussels (1676-1678). This allegorical white marble monument is considered 'undoubtedly one of the finest examples of European funerary art', according to Helena Bussers. Exceptionally, the terracotta modello of this monument is preserved. Mathieu Van Beveren's style is influenced by the Antwerp Baroque, sometimes even borrowing models from Rubens, as well as the classicism of the Duquesnoy family and, above all, Lucas Faydherbe (1617-1697), with whom he collaborated on several occasions and with whom he shared a sober and classical style.
(+) The complete documentation on the calvary including illustrated comparisons is available by request.
(+) CITES certificate for commercial activities inside the EU, no. 2025/BE00410/CE.
23.5 x 11 x 4 cm. (9 1/4 x 4.3 x 1.5 in.)

  • Condition: In our opinion in good condition.

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