German, Middle Rhine or Franconia, circa 1490

with remnants of an old label with Gothic lettering to the top of the head, and a label numbered: 133. on the reverse

with Warnsveld, Breda, 1975

Overall the condition of the wood is good with minor dirt and wear to the surface consistent with age and handling. There is splitting consistent with material, including a few more prominent splits: to the proper left side of the face, to the proper left hand, and a split to the drapery at the proper right side near the bottom. There are losses to the polychromy throughout, especially to the drapery at the chest, skirt and green painted areas; some of these losses have then been refreshed with paint subsequently. There are some minor losses, including to the edges of the drapery. The proper right hand and wrist are reattached and the tip of the index finger is restored (there are glue residues here). There is an iron hook to the back of the neck.
"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."

The elongated face of the present female saint, with its arched eyes and placid smile, is reminiscent of wood carvings from the middle of Germany. An Angel of the Annunciation in the Suermondt-Ludwig-Museum in Aachen, with a similarly proportioned face and a mantle with crumpled folds flowing over a robe with pipe folds which runs over the feet onto the base, is thought to be Middle Rhenish and dates to the late 15th century (inv. no. SK 526). The double chin and placid expression are equally comparable.

The female saint's style of clothing and turban-like headdress is often a feature in Tilman Riemenschneider's work. See for example, his St. Barbara and St. Mary Magdalen in the Bayerisches Nationalmuseum (inv. nos. MA1338 and 9).

RELATED LITERATURE
T. Müller, Die Bildwerke in Holz, Ton und Stein von der Mitte des XV. bis gegen Mitte des XVI. Jahrhunderts, cat. Bayerisches Nationalmuseums, Munich, 1959, pp. 152 and 158, nos. 147 and 150; E.G. Grimme, Europäische Bildwerke vom Mittelalter zum Barock, cat. Suermondt-Ludwig-Museum Aachen, Cologne, 1977, pp. 90-91, no. 177, pl. 166