Flemish, Antwerp, circa 1500

Galerie Hofstätter, Vienna;
Purchased by Dr. Rudolf Kremayr on 10 October 1962, and thence by descent.

Overall the condition of the figure is good. There is wear and dirt to the surface consistent with age. There are small losses to the polychromy throughout particularly on the high points of the drapery folds and clothing including in the area around the proper left hip and at the height of the proper right knee. The applied inscription along the borders of the mantle is largely lost. There are a few minor chips in cluding to the edge of the hood and its ornaments and to the drapery on the lower left side. The tassels on the head were probably reattached. There are some naturally occurring traces of worming to the reverse. There is a metal ring for mounting inserted on the reverse and there are three drilled holes for mounting to the underside.
"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 present statuette is a fine example of early 16th-century woodcarving and polychromy. It also illustrates the religious devotion with which such works were made and regarded as well as Antwerp's taste for extravagant fashion in the 16th century.
Representations of Mary Magdalen such as this were typical features of Crucifixion scenes on Flemish altarpieces. A Passion altarpiece from Antwerp in the Louvre (inv. no. RF 1769) shows a similar figure. A small group of independent figures can be found in Aachen's Suermondt-Ludwig Museum (inv. nos. SK 259, 260, 433 and 435).
The polychromy in the face is also seen in religious sculpture of Antwerp of the time; attendants of Passion scenes were painted with red around the eyes and cheeks to heighten the expressiveness of the figures. A good comparison is the Mary Magdalen in the Louvre's Lamentation (OA 5528).

RELATED LITERATURE
E.G. Grimme, Europäische Bildwerke vom Mittelalter zum Barock, cat. Suermondt-Ludwig-Museum, Aachen/ Cologne, 1977, pp. 58-59, nos. 107-110, figs. 99-102; S. Guillot de Suduiraut, Sculptures brabançonnes du Musée du Louvre. Bruxelles, Malines, Anvers XVe-XVIe siècles, cat. Musée du Louvre, Paris, 2001, pp.112-122 and 148-151, nos. 17 and 31