Lower Rhine, probably Kleve, circa 1490

Overall the condition of the wood is good, with minor dirt and wear to the surface consistent with age. A former layer of polychromy appears to have been removed. The relief is carved in sections and vertical joins are visible, particularly at the back, with some glue residue in areas. Some of the joints are slightly open but stable; notably to the apostle on the far left side and between the kneeling apostle and those behind him. Here the joint has been partially filled and a varnish applied. There is also some stable splitting to the wood consistent with the material, including around these areas and around the bottom edge. There are two later wood inserts to the bottom edge. There appears to be a wood insert to the chest and proper right hand of the Apostle holding the staff with blue residue slightly visible. There are a few minor losses, including to the top of the staff held by the Virgin and one of the Apostles, to the Virgin’s finger tips on the proper left hand, and to the top edges of the figures. An attribute may be missing from the hand of the third Apostle from the left. There are a few small chips at high points such as the hair and beards. On both far sides at the back thin sections of wood have been applied, presumably to stabilise the composition, and there are two horizontal metal mounts on the reverse to hold the composition in place. There are also two small modern metal hooks at the back. The surface has darkened at the back.
"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.
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A poignant subject, the Dormition of the Virgin inspired Gothic sculptors to convey a range of physiognomies and emotional expressions in the Apostles mourning at her deathbed. It was particularly in Rhenish sculpture during the second half of the 15th century that such scenes became a significant part of the repertory of virtuoso retable carving. 

The present Death of the Virgin, carved boldly in low relief, was likely made along the Lower Rhine. The Virgin lies peacefully on her draped bed, surrounded by the Apostles who are distinguished by their varying facial expressions, garments, hairstyles, and beards. The distinctive physiognomy of the Apostles, featuring short noses and high cheekbones combined with generous waves or curls of hair, finds compelling parallels in sculpture from late 15th-century Kalkar. Specifically, they relate closely to Netherlandish workshops' altarpieces in the Church of St Nicolai, such as the God the Father from the Trinity Retable (Rommé, op. cit., fig. 14) and the reliefs from the High Altar of circa 1480-1500 by Arnt von Zwolle and Jan van Halderen (Bildarchiv Foto Marburg, no. fmc436467). The angular, crinkled folds of drapery exhibited in the present relief are equally analogous to the reliefs in Kalkar, and find another comparison in the oeuvre attributed to Master Tilman, a pupil of the Kalkar school who founded a workshop in Cologne. See, in particular, his relief with an Angel of circa 1490 in the Schnütgen Museum, Cologne (inv. no. A 931). It is interesting to note that Master Tilman is the author of another celebrated Dormition group, now in the Metropolitan Museum (inv. no. 1973.348), which highlights the importance of the subject in Lower Rhenish sculpture at the close of the 15th century.

RELATED LITERATURE
B. Rommé et al., Gegen den Strom: Meisterwerke niederrheinischer Skulptur in Zeiten der Reformation, 1500-1550, exh. cat. Suermondt-Ludwig-Museum, Aachen, Berlin, 1996; R. Karrenbrock (ed.), Die Holzskulpturen des Mittelalters II, 1, 1400-1540, cat. Museum Schnütgen, Cologne, 2001, pp. 28-35 and pp. 287-289, no. 47