Workshop of Jakob Naumann (active early 16th century) German, Thuringian, circa 1500-1515

standing on a crescent moon

The overall condition of the figure is good. The polychromy and gilding are refreshed with some areas of loss. There is some loss to the hem of her cloak. There is some worming, especially visible at the faces and the hands of the Christ child. There is some surface restoration at an area at her throat, there is some canvas support behind her neck and some minor losses. Both toe sections of the Christ child have been restored. There is a small section of restoration at the orb and a small loss to the surmounting cross. The top section of the sceptre is lost, threre are small losses and restorations to the crown. The left tip of the sickle moon has been reattached. There are small chips to the base. An original vertical section to the hair at the left side of the Virgin has been reattached. A vertical section to the right side might be restored. There are later attachments for hanging at the base at the reverse and a small hook at the top.
"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."

Thuringia, placed in the middle of Germany, at the crossroads of political and economic routes, was profoundly influenced not only  by the stylistic sources of Franconia further South but also those of Upper and Lower Saxony. Artistic production reached its peak in the second half of the fifteenth century with the flourishing of artisan workshops in Erfurt, Saalfeld and Altenberg.

This intricately sculpted and arresting depiction of the Virgin and Child can be attributed to the Altenburg school in particular to the workshop of Jakob Naumann. The treatment to the soft folds of the Madonna's cloak swept up over her left wrist and falling down over her knee to land in crinkled folds at her feet, together with her distinctive physiognomy can be closely compared with the altarpiece formerly from Markersdorf attributed to Jakob Naumann.  Compare in particular  the high domed forehead, pronounced small chin and to the treatment of the drapery. Further comparison can be made with the Tinzer altar also by Naumann.

RELATED LITERATURE
O. Wanckel and E. Flechsig, Die Sammlung des Sächsischen Altertums vereins zu Dresden in ihren Hauptwerken (Dresden, 1900) p. 31 fig. 37; G. Voss, Die Thuringer Holzschnitzkunst des Mittelaltars, die Werke der Sallfelder Bildschnitzerschule (Magdeburg, 1911) p. 47; O. Doering & G.Voss, Meisterwerke der Kunst aus Sachsen und Thüringe (Magdeburg, 1906) cat. 322, pl. 90