Workshop of Jakob Naumann German, Thuringia, circa 1500-1515

Overall the wood is in very good condition with minor dirt and wear to the surfaces consistent with age. There is some wear to the original polychromy, in particular the gilding. There is minor stable splitting to the wood consistent with age. There is a small loss to St. Barbara's proper right thumb. The sculptures are carved in sections and the chalice and spear are a little loose.
"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."

Sculpture in Thuringia, due to its location at the crossroads of Germany's main political and economic routes, was profoundly influenced by the fashions in Franconia to the South and Saxony to the North East. As elsewhere in Germany artistic production reached a peak around 1500 with wood carvers' workshops flourishing in Erfurt, Saalfeld and Altenburg.

These intricately sculpted female saints can be attributed to the Altenburg school and in particular to the workshop of Jakob Naumann. The treatment to the soft folds of the drapery falling down over their knees to land in crinkled folds at their feet, as well as their distinctive physiognomy can be closely compared with an altarpiece formerly in Markersdorf which is attributed to Jakob Naumann. Compare in particular the high domed foreheads, pronounced small chin and the treatment of the drapery. Further comparison can be made with the Tinzer Altar also by Naumann.

RELATED LITERATURE
H. Scherf, 'Jacob und Peter Naumann. Eine Altenburger Altarwerkstatt am Ausgang des Mittelalters', Altenburger Geschichtsblätter 3, Dresden, 1983, pp.15-72