Netherlandish, probably Brussels, first half 15th century

Overall the condition of the wood is good. There are some areas of minor wear and dirt to the surface consistent with age. A section in the centre of the boss has been cut out and reattached (presumably when the boss was removed from the ceiling); this is only slightly visible at the front and is fully visible at the back. The area around the insert has been well restored with wax. There is some minor worming and stable splitting to the surface consistent with material. Some of the wingtips were carved separately. There are a few small losses including to the tip of one of the angels wings on the left side.
"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 numerous smooth and sweeping folds of Christ and the Virgin are reminiscent of an exceedingly important figure of God the Father from the much studied altarpiece in the Goddelijke Zaligmakerkerk in Hakendover, one of the earliest surviving retables from the Netherlands. Note, in particular, the way in which the drapery is pulled across the figures' waists and how the drapery is folded over like a collar at the shoulders. The present relief is likely to have served as a roof boss, a decorative element placed over the intersection of two ribs on the ceiling of a religious building. Given the subject, it may have been placed over an altarpiece with scenes from the Life of the Virgin.

The so-called Master of Hakendover was active in Brussels during the first third of the 15th century. His work is indebted to André Beauneveu's sculpture and, more directly, to the master who carved a Coronation of the Virgin in the church of Saint-Jacques in Liège with whom the Master may have trained.

RELATED LITERATURE
J.W. Steyaert, Late gothic sculpture. The Burgundian Netherlands, exh. cat. Museum voor Schone Kunsten, Ghent, 1994, pp. 142-145, no. 21