Circle of Veit Stoss (circa 1450-1533) German, Nuremberg, early 16th century

with Litybur, Paris, by 1972;
private collection, Belgium

J. Boccador and E. Bresset, Statuaire médiévale de collection, Zoug, 1972, pp. 330-331, no. 348

Overall the condition of the wood is good with minor dirt and wear to the surface consistent with age and handling. The hands are carved separately; two fingers on the proper right hand are reattached and the proper left little finger is lost. There is minor splitting consistent with material, including a restored split at the proper right shoulder. There are a few small patches of restoration to the surface. There are a few small chips including to the drapery. There is a loss to the back of the head. The spear is lost.
"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."

Nuremberg was the centre of the German Renaissance in the 15^th and 16^thcenturies. After a number of conflicts between burgraves, noblemen and oligarchs, Nuremberg found itself a free city and, as it was granted the rights to make alliances independently by Charles IV, it became a major political force in an empire otherwise ruled by princes.  As such the city vastly expanded its territories, monopolising all the regional trade routes and natural resources, and welcomed international trades- and craftsmen. In this environment the arts rose to great heights, spawning major artists such as Albrecht Dürer, Peter Vischer, and Veit Stoss. The limewood carving around 1500 was dominated by the work of the latter artist, whose work is characterised by heavy flowing swathes of drapery undercut as if they float around the bodies, elaborate costumes and friendly rounded faces framed by intricately carved hair.

The present figure of Saint George was clearly carved in Veit Stoss’ circle. It is probably by the same hand as a Virgin of the Annunciation in the Musée de la Chartreuse in Douai (inv. no. A.2388), which was exhibited in the Louvre in 1991. The ovoid face with relatively small, sharply delineated eyes and lips and a dimple in the chin compare well, as does the beaded hairband and the brilliantly undercut mantle.  The saint’s armour is wonderfully rendered and an accurate representation of early 16^th-century suits. Note the chainmail above his neckline and the way the folds at the hips part to accommodate the warrior saint’s saddle.

RELATED LITERATURE
Sculptures allemandes de la fin du Moyen Age dans les collections publiques francaises. 1400-1530, exh. cat. Musée du Louvre, Paris, 1991, pp. 181-183, no. 47