This finely carved group of the Virgin and Child exudes an air of graceful serenity. The scheme of the Virgin's restrained drapery finds its closest parallel in a Middle Franconian Female Saint of around 1490 now in the Bayerisches Nationalmuseum, Munich (Müller, op. cit.), where the motif of the rectangular central fold is repeated. Combined with a striking similarity to a Virgin and Child from the Middle Franconian town of Egersheim (Germanisches Nationalmuseum, inv. no. Pl. O. 118), this indicates an origin of the present group in or around Nuremberg. The charming roundness of the Virgin's face, with a hint of a smile on her delicate lips, and her elegant long tresses are reminiscent of figures by masters from Ulm, such as Michel Erhart and Niklaus Weckmann. Notably the Christ Child's wide-eyed, cheerful expression and exaggerated ringlets of hair are also seen in the Christ at the centre of Michel Erharts altarpiece in Blaubeuren. Such stylistic correspondences are indicative of the Swabian influence on Franconian sculpture in the late 15th century. Compare also a Saint Catherine in Dijon, who shares Franconian as well as Swabian features (Guillot, op. cit., no. 45).
W. Josephi, Die Werke Plastischer Kunst, cat. Germanisches Nationalmuseum, Nuremberg, 1910, no. 309; 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, no. 176; S. Guillot de Suduiraut (ed.), Sculptures allemandes de la fin du Moyen Age dans les collections publiques français: 1400-1530, exh. cat. musée du Louvre, Paris, 1991