French, probably Moulins, Bourbonnais, late 15th century

Overall the condition of the stone is good. There is some minor weathering, wear and dirt to the surface consistent with age. The figure is likely to have been placed on its current base later. There are restorations to the noses of both figures and an irea around the arms of Christ. There are a number of minor losses around the edges of the drapery, one loss to the middle finger of the Virgin has been filled. A small rusty metal insert is visible at the bottom left, there are losses to the area around it.
"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 historic French province of Bourbonnais was the seat of the House of Bourbon. At the end of the fifteenth century the duchy had a uniquely powerful position in France as the duke, Charles I, and his wife, Anne of France, held the regency during the minority of King Charles VIII. Moulins, the capitol of the Province, could attract the period's finest craftsmen and a number of distinctive sculptures originated from the town, of which the present group is a very fine example.

This exquisite Madonna and Child can be closely compared to another group entitled Éducation de l'Enfant in the Louvre Museum, Paris, which was made in Bourbonnais at the end of the fifteenth century (RF 2763). Particularly noteworthy similarities are found in the treatment of the Virgin's hair, parted centrally and falling in symmetrical waves across the forehead. A distinctive detail is found in both groups as the long waves of hair are interspersed with short curls to either side of the face. In both groups the down-cast glance of the Virgin is picked out by sharply defined lower eyelids to create almost crescent-shaped eyes. The delicacy of the gestures and the sense of volume in the drapery can also be compared. The present Virgin's face can also be compared to a Tête de Femme in the Louvre (RF 2203). The crescent-shaped eyes and delicate brows are repeated, together with a fairly wide nose.

The small dimensions of the present model give it a jewel-like quality. The delicate hands express the tenderness of the Madonna towards the Child and draw the eye towards the symbolism of the group. The bird held by the Christ Child is an emblem of the Christian Soul which will be redeemed by His sacrifice.

RELATED LITERATURE
F. Baron, Sculpture française I moyen age, cat. Musée du Louvre, Paris, 1996, pp. 185 & 194