Carved (the wings separately) and painted. The reverse is flat.

The are repairs to the toes. The oak wings and white paint are not original.

…; from L.H.M. Brom, Utrecht and Oosterbeek, with pendant BK-1964-10-A, fl. 3,000 for both, to the museum, 1964

Object number: BK-1964-10-B

These hovering angels with banderoles (for the pendant, see BK-1964-10-A) were acquired in 1964 from the Utrecht goldsmith Leo Brom. They wear on their heads, crowns of interlocking, flowering rose stems. Richly pleated drapery falls from one shoulder. The text on the banderoles, which they hold in both hands, is now missing. The oak wings of the angels, which for the rest are made of lime wood, are most probably not original.

Stylistically, the plump, winged cherubs are still deeply rooted in the late-baroque,¹¹Cf. the angels in the high altar of Sint-Jacobskerk, Antwerp, by Artus Quellinus II (1685) and those by Willem Kerricx I (1652-1719), for instance on the marble relief he made with putti from c. 1678, see sale London (Christie’s), 2 July 1991, no. 82. but with their delicate elegance and sweet looks they already usher in the Rococo. That would lend credibility to a date in the first quarter of the eighteenth century. Apart from the dominant art centre of Antwerp, already suggested as their place of origin,²²Verslagen der Rijksverzamelingen van geschiedenis en kunst 1964, p. 27; J. Leeuwenberg with the assistance of W. Halsema-Kubes, Beeldhouwkunst in het Rijksmuseum, coll. cat. Amsterdam 1973, p. 257. the angels could also have been made in the Northern Netherlands for a clandestine Catholic church (in view of the possible Utrecht origin) by a sculptor from the southern part of the country who had settled there. However, as a comparison with sculptures of young children carved by the Amsterdam sculptors Ignatius van Logteren (1685-1732) and his son Jan (1709-1745) demonstrates (cf. BK-1959-32-A and -B), the possibility they were made by a local Northern Netherlandish sculptor should not be ruled out.³³For Ignatius and Jan van Logteren and the sculptors in the 18th century, see P.M. Fischer, Ignatius en Jan van Logteren: Beeldhouwers en stuckunstenaars in het Amsterdam van de 18e eeuw, Alphen aan de Rijn 2005. The unusual and explicit presence of rose stems in the angels’ hair implies that the works might have been part of a rosary altar.

Bieke van der Mark, 2025

J. Leeuwenberg with the assistance of W. Halsema-Kubes, Beeldhouwkunst in het Rijksmuseum, coll. cat. Amsterdam 1973; Verslagen der Rijksverzamelingen van geschiedenis en kunst 1964, p. 27

B. van der Mark, 2025, 'anonymous, Hovering Angel with Banderole, Northern Netherlands, c. 1700 - c. 1720', in F. Scholten and B. van der Mark (eds.), European Sculpture in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/20035791