Mosan, second half 13th century

with Galerie Koller, Zurich, 1989

Considering the age of the sculpture, the condition is good overall. There is dirt and wear consistent with age. The arms are lost, due to worming. There is some further evidence of non-active worming, such as at the chest. There is some minor stable splitting consistent with material, particularly through the centre at the front. There is an iron support at the back. There is some craquelure and flaking to the polychromy. There is particular wear to the polychromy on the Virgin's headdress. The polychromy may be refreshed to an extent.
"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."

Among the few Gothic wood sculptures from the Meuse (or Maas) valley that survive there are a number of figures of Saint John and the Virgin under the Cross. They illustrate the two stylistic currents in Mosan sculpture between the 12^th and 14^th centuries well: a tendency towards nervous, painful realism and another towards the ideal, inspired by the concept of beauty developed in Ile-de-France at the same time. The present figure is a prime example of the second trend, with its elegant Gothic folds, slight contrapposto and soft rounded face. Specifically the billowing of the drapery around the feet and the way the Virgin pulls her mantle tautly across her knee which then cascades down in sharply defined undulating folds are reminiscent of French 13th-century ivory Madonnas of the time. The elongation of the statue, however, compares well with the column figures of the Mosan Romanesque. The strongly delineated facial features, hair and veil reveal some of the taste for the naturalistic. For comparable figures see J.J.M. Timmers, De kunst van het Maasland. Deel II. De Gotiek en de Renaissance, Assen, 1980, figs. 239, 240, 244, 249, 250 and 256.