French, Lorraine, circa 1400

Overall the condition of the marble is good. There is wear and dirt consistent with age. There are minor chips to the surface, particularly to the edge of the folds of the drapery. There is a larger loss at the foot of the Virgin. There is a break at the neck of the Virgin and restorations to a majority of her head. The thumb of the child's left hand is missing and there is an old addition the the index finger of the right hand of the Virgin. There are some minor chips to the base and a repaired crack to its corner on the left.
"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."

This Virgin and Child belongs to a group of similar sculptures originating from the region of eastern France and the lower Rhine. Early examples date from the first quarter of the 14^th century. Taking their inspiration from Parisian prototypes the sculptors of Lorraine developed their own distinctive style. This style, defined and published by Schmoll gen. Eisenwerth, was characterised by a pronounced sway in the pose, a wide frontal view with slender side views, simple drapery swept across the Virgin's body and tucked under the figure of the Infant Christ, and an eight-sided base. Although the base has suffered some minor losses this Virgin and Child conforms to the 'Lotharingian' type in each characteristic. The delicate description of the head of the Virgin with the eyelids carefully delineated, the stylised waves of hair and sweet smile, make this Virgin and Child a particularly appealing example.

An example of the type, dating to circa 1315, is in Smith College Museum of Art and already displays the stocky build and sweeping drapery, which became hallmarks of a style which changed but little over the decades of the 14^th century. Other early examples include two versions in the Louvre Museums, Paris. A version dating to around 1360 is in the collection of the Mead Art Building, Amherst College.  Unlike these examples, wherein the Christ Child wears a coat, the infant is nude in the present example. This nude treatment can also be seen in a Lorraine Virgin with a suckling Child illustrated by Boccador, dating to around 1400.

RELATED LITERATURE
D. Gillerman ed., Gothic Sculpture in America I The New England Museums, New York, 1989, nos. 1 & 173, pp. 2-3 & 216-7; F. Baron, Sculpture Française I Moyen Age, cat. Musée du Louvre, Paris, 1996, RF 3451 & RF 2533, pp. 131-2; J. Schmoll gen. Eisenwerth, 'Lothringische Madonnen-Statuetten des 14. Jahrhunderts', Festschrift für Friedrich Gerke, Baden-Baden, 1962, pp. 119-148; J. Schmoll gen. Eisenwerth, 'Neue Ausblicke zur hochgotischen Skulptur Lothringens und der Champagne, 1290-1350' Aachener Kunstblätter XXX, 1965, pp. 49-99