South German, Franconia, circa 1360-1370

inscribed: Iv. / 1022 in ink to the reverse

Johannes Noll, Frankfurt;
his sale, F.A.C. Prestel, Frankfurt, 7-8 October 1912, lot 2;
his sale, H. Helbing, Frankfurt, 1928, lot 72;
Ernst and Agathe Saulmann, Germany;
their forced sale, Weinmüller, Munich, 26-27 June 1936, lot 135;
with J. Boehler, Munich, 1937;
Liebieghaus, Frankfurt, 1937-2015 (inv. no. 1022);
restituted to the heirs of Ernst and Agathe Saulmann, 2015

Frankfurt, Frankfurter Kunstverein, Mittelalterliche Bildwerke aus Frankfurter Privatbesitz, 1921, no. 21

R. Kautzsch, 'Die Alabastergruppe der trauernden Frauen im Schlesischen Museum für Kunstgewerbe und Altertümer', Aus Schlesiens Vorzeit in Bild und Schrift, N.F. 7 (1), 1916, p. 180;
Mittelalterliche Bildwerke aus Frankfurter Privatbesitz, exh. cat. Frankfurt, 1921, no. 21;
O. Schmitt and G. Swarzenski, Meisterwerke der Bildhauerkunst in Frankfurter Privatbesitz, vol. 1, Deutsche und französische Plastik des Mittelalters, Frankfurt, 1921, no. 28;
W. Paatz, 'Mit einem gemalten Band', Festschrift für K. Bauch, Munich, 1957, pp. 127-129;
A. Legner, Gotische Bildwerke aus dem Liebieghaus, Frankfurt, 1966, no. 44;
D. Zinke, Nachantike Grossplastische Bildwerke, vol. I. Italien, Frankreich, Spanien, Deutschland. 800-1380, cat. Liebieghaus, Frankfurt, Melsungen, 1981, no. 89

The Virgin's proper right forearm and part of the Child's proper left hand are lost. Restored joints are visible around the Virgin's proper right shoulder and her abdomen, the Child's legs, and around the Virgin's neck, and the Child's proper right arm, suggesting that the sculpture was once in fragments. A section of the Virgin's forehead and a section of her hair on the proper right side have been reattached and some glue residue is visible. There is weathering to surface of the stone, which has led to erosion, which is particularly visible at the proper left side and the back. There are chips and abrasions to the high points throughout, and notably to a fold of drapery covering the Virgin's abdomen, to the Virgin's proper left hand and part of the Child's hip, and to the bottom section, where there appears to be a larger loss at the front. There are some remnants of polychromy to the borders of the Virgin's dress. It is possible that the faces may have been partially recarved. There is veining to the alabaster throughout, consistent with the material. Some of these veins are slightly open, including one to the Virgin's proper right breast, where there is also some loss. The top of the Virgin's head is flat and there is a hole, which probably would have held a lost crown. There is a metal hook to the back. There are chips and abrasions to the edges of the base throughout.
"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 rare and beautifully carved alabaster group of the Virgin and Child has traditionally been located to Würzburg due to its compositional correspondence to two stone Madonnas from this area in the Mainfränkisches Museum and the Grassi-Museum, Leipzig. More recently, however, the location of late 14th-century Franconian alabaster production has been broadened to include other centres, which makes the Würzburg attribution uncertain. Physiognomical similarities to pieces from Nuremberg and Bamberg indicate that the present Virgin may originate from one of these Franconian cities (see Zinke, op. cit.). Note the intricately modelled waves of hair and tender facial features, which mark the beginnings of the Beautiful Style.