Attributed to the workshop of Tilman Riemenschneider (c. 1460-1531) German, Franconia, early 16th century

Overall the condition of the wood is good. There is some minor wear and dirt consistent with age and some minor, stable splitting to the surface and minor worming consistent with age and material. Part of the proper right side of the base, including the lower section of the torch, has been replaced. There are minor losses to the corners of the cloak and further minor nicks to the surface, particularly around the base. The top of the torch is missing.
"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 exquisite limewood male deacon from the circle of Tilman Riemenschneider exhibits many affinities with the master sculptor's workshop.  The figure's elegant s-curved posture, sharped-edged drapery with deep folds, and serene demeanour all point to a wood carver working close to the artist.  There are particularly striking similarities between the present work and the pair of Angels by Riemenschneider in Eisenach, Wartburg Stiftung (inv. no. P1, P2), most noticeably: the facial features of almond-shaped and slightly downward-turned eyes, straight nose, diminutive lips and pointed chin, the distinctive tooling of the fringe of the drapery, the manner in which the toes peak out from the figure's mantle and, finally, the articulation of the staff. 

Tilman Riemenschneider was born in Heiligenstadt in 1460. Little is known of the sculptor's early career; although it is likely he was an apprentice to a stone mason in Erfurt, where he developed his skill carving alabaster. It has been suggested he also trained under the direction of Michel Erhart in Ulm. Riemenschneider married a wealthy woman in 1483 and settled in Würzburg. His wife's resources afforded him a workshop and a bevy of studio assistants. The German sculptor's immense skill and talent won him many commissions from local councils, churches, and private patrons in Saxony and Franconia.

As the master sculptor of a large workshop, Riemenschneider divided up the work according to the area of expertise (wood-carvers, stone-carvers, and painters). As apparent in the present figure, Riemenschneider's surfaces exhibit an obsessive attention to detail and serene beauty, which has placed him firmly as one of the greatest sculptors of the western world.

RELATED LITERATURE
M. Baxandall, The Limewood Sculptors of Renaissance Germany, New Haven and London, 1980, pp. 172-90, 259-65; H. Krohm and E. Oellermann, 'Der ehemalige Münnerstädter Magdalenenaltar von Tilman Riemenschneider und seine Geschichte, Forschungsergebnisse zur monochromen Oberflächengestalt', Z. Dt. Ver. Kstwiss., xxxiv, 1980, pp. 16-99; J. Chapuis, Tilman Riemenschneider: Master Sculptor of the Late Middle Ages, London, 1999; Tilman Riemenschneider. Werke seiner Blütezeit, 2004, pp. 295-7