Southern Netherlandish, probably Brabant, early 16th century

Overall the condition of the wood is good, with some wear and dirt to the surface consistent with age. There are a few traces of polychromy, notably to the eyes, and a reddish colour in the crevices throughout. There are a few losses, including to: both hands of the Christ Child, Saint Anne's proper left foot, her book, the backs of the throne on both sides, the face of the lion on the right side, and to the bottom edge at the front. There is some evidence of past worming, notably at the sides and at the bottom. There are a few minor chips, including to Anne's headdress and the Virgin's proper left hand. There is some stable splitting to the wood consistent with the material, notably to the Virgin's head, upper body and legs, the body of the Christ Child, Saint Anne's face, upper body and book, and the throne at the back. There is some rubbing at the high points and notably to the lions. There are several small holes to the top of the Virgin's head. There are two modern copper plates to the reverse to stabilise the composition. There is also an old illegible stamp to the reverse.
"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."

With her elegant high forehead and complicated headdress, the Virgin in this group recalls the work of the prominent Brussels sculptor Jan Borreman. The folds of drapery, which clearly outline the knees of the Virgin and St Anne, and the round-tipped shoes, also appear on an Anna Selbdritt in Museum Catharijneconvent (inv. no. ABM bh313, op. cit. pp. 270-1), which is similarly framed by a broad bench with sculpted sides. 

The motif of Anna-Selbdritt became increasingly popular towards the late Gothic period, as interest in the human side of religious subjects grew. This charming group of three generations of the Holy Family shows an intimacy and tenderness which is often apparent in this type of iconography. 

RELATED LITERATURE
J.W. Steyaert, Late Gothic Sculpture: the Burgundian Netherlands, exh. cat. Museum voor Schone Kunsten, Ghent, 1994, nos. 63, 66; A. Huysmans, La Sculpture des Pays-Bas méridionaux et de la Principauté de Liège, exh. cat. Musées royaux d'Art et d'Histoire, Brussels, 1999, no. 14; M. van Vlierden, Hout- en Steensculptuur van Museum Catharijneconvent, ca. 1200-1600, Utrecht, 2004, pp. 148, 270-271