North German, circa 1120-1140

Mikhail Petrovich Botkin (1839-1914), Saint Petersburg, until 1911;
Adolphe Stoclet (1871-1949), Brussels, before 1949;
Mme Feron-Stoclet, Brussels, by 1954

Antwerp, Musée Royal des Beaux-Arts, La Madone dans l'art, 1954, no. 117;
Utrecht, Centraal Museum, De Madonna in de kunst, 1954, no. 3

L. Einhaus, 'Porträt einer romanischen Muttergottes', Frankfurter allgemeine Zeitung, 14 January 1955;
G. A. Salles, Adolphe Stoclet collection (part 1). Selection of the works belonging to Madame Feron-Stoclet, Brussels, 1956, pp. 192-195

Overall the condition of the wood is good with wear and dirt to the surface consistent with age. The polychromy consists of several overlapping layers and is likely to be largely of later date. There is some flaking and rubbing to the drapery throughout and craquelure at the incarnate of the faces and hands which has led to some minor losses of paint. There are several stable, naturally occurring splits, including three larger ones running from the underside up, one through the Virgin's proper right hand, and some smaller ones around the chin and neck of the Virgin. The thumb of the proper left hand of the Virgin is lost as is a section to the back of her head. A new section of different wood of circa 7.5 cm. was attached to the underside of the group to complete the composition and in order for it to be able to stand up.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The drapery style of the present Virgin and Child follows the strict tight vertical and well delineated pleats of Byzantine models. However, there is a more lively sideways posture of the Christ Child and the cascading folds at the base of the Virgin's robe are softer. Compare the tight pleats of her robe with the perizonium on the figure of Christ at Benninghausen, North Rhine-Westphalia dated to 1070-1080 and a gravestone at Enger bei Bielefeld, also North-Rhine Westphalia, of the same date and both illustrated by Budde (1979, op.cit.). Compare also with Cologne workshop figures from the late 11th and 12th century found in Northern Germany and Southern Sweden (see Budde, 2007, op.cit.). 

RELATED LITERATURE
H.Beenken, Romanische Skulptur in Deutschland, Leipzig, 1924, p.46, no. 25; R. Budde, Deutsche Romanische Skulptur 1050-1250, Munich, 1979, pls. 16, 17, 38, 78 and 79; T. Budde, Skulptur um 1200. Das Kolner Atelier der Viklau-Madonna auf Gotland und der asthetische Wandel in der 2. Halfte des 12 Jahrhunderts, Fulda, 2007, fig. 48

Radiocarbon dating measurement report no. RCD-8287, prepared by Jill Walker of RCD RadioCarbon Dating, East Lockinge, dd. 28 August 2014, states that the wood dates between 981 and 1164 (95% confidence interval).