Circle of Tilman Riemenschneider (c. 1460-1531) German, Franconia, circa 1510-1530

with a label to the reverse with a faint inscription in ink: ... Bapa ...

Noble collection, Germany, by repute since the 18th century

Overall the condition of the wood is good, with some wear and dirt to the surface consistent with age. There are a few losses, including some large losses to the proper left side of the crown. Further losses include to the tips of the crown, to both thumbs, to one of the knobs on the cup, and to the drapery at the bottom, to the proper left breast, and to the hair on the proper left side. The cup has been reattached above the foot, where a joint with some glue residue is visible. There is wear to the polychromy throughout, and there are areas of loss, which reveal earlier paint layers and the gesso ground. This is particularly the case with the red ground of the gilt cloak and the flesh tones. In some areas the gesso is lost revealing the wood. The extant polychromy is likely to be at least partially later. There is craquelure to the polychromy throughout and some flaking, with areas of loss including the nose. There is a hole to the top of the head, which would have supported a halo. There is some minor stable splitting to the wood consistent with the material, including to the top of the head. There is a metal hook at the back. There are some pieces of canvas beneath the paint, including at the bottom on the proper right side. The figure is attached to a modern wood board at the bottom. There is some wax to the top of the head.
"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."

Tilman Riemenschneider’s influence on wood sculpture in Franconia and beyond was vast, with numerous assistants and followers emulating the master’s unique, elegant, style. This beautiful figure of a female saint may be counted among those works from Riemenschneider’s circle that come particularly close to capturing the calm refinement that is characteristic of the sculptor's autograph works.

The saint can almost certainly be identified as St Barbara, not only through her attribute of the cup, but through her affinity with Riemenschneider's limewood St Barbara of circa 1510 now in the Bayerisches Nationalmuseum (inv. no. MA 1338), which appears to have been the compositional model for the present figure. Both figures support the cup with their proper right palm while hovering their left hand in front of a gathering of drapery around the hips; their heads are slightly tilted to the right. In addition, the sculptor of the present statue has incorporated elements of the St Barbara’s dress, such as the cloak around the sleeves and the upwards fold of drapery by the right knee. An aspect in which the two figures differ is their headdress – whereas Riemenschneider’s Barbara wears a contemporary Dutch bonnet, the present Saint's head is surmounted by a crown. Stylistic similarities with other works by Riemenschneider and his workshop may be pointed out, such as the zigzag folds of the Virgin of the Annunciation in the Bayerisches Nationalmuseum (inv. no. MA 1325), and the gathering of the dress at the chest exhibited by the Virgin in an Anna Selbdritt from the Riemenschneider workshop (Lenssen, op. cit., no. 82). However, the forms of the Saint's drapery and hands appear rather schematic in comparison to most works attributed to Tilman Riemenschneider’s workshop.

It is in the head of the present St Barbara that the master's direct influence is most strongly felt. The refined shape and features, with an elongated nose, pronounced lower eyelids, and delicately dimpled chin compare closely to many of Riemenschneider’s autograph female figures, above all perhaps his Saint in Hannover, which survives in the form of a bust (Lichte, op. cit., no. 13). That the Barbara’s face is so imbued with the elegance of Riemenschneider’s most celebrated works suggests that the sculptor of the present work may have been a former pupil of the master, or a close follower, who was here able to emulate the serene presence of his prototypes.  Entering the market for the first time from the collection of a German castle, the statue represents a fascinating addition to the oeuvre of Riemenschneider’s immediate circle.

RELATED LITERATURE
T. Müller, Die Bildwerke in Holz, Ton und Stein von der Mitte des XV. bis gegen mitte des XVI. Jahrhunderts, cat. Bayerisches Nationalmuseum, Munich, 1959, pp. 144 and 152; C. Lichte (ed.), Tilman Riemenschneider: Werke seiner Blütezeit, exh. cat. Mainfränkisches Museum Würzburg, Regensburg, 2004; J. Lenssen (ed.), Tilman Riemenschneider: Werke seiner Glaubenswelt, exh. cat. Museum am Dom, Würzburg, Regensburg, 2004