German, Lower Rhine, circa 1350-1360

Tajan Paris, 17 May 2000, lot 10;
European private collection

There is flaking to the original polychromy throughout. The sculpture is composed in sections and original stable joints are visible, notably vertically through Christ's torso and horizontally through the Virgin's drapery and throne at the bottom. There is a possibly restored joint running through Christ's face. There is splitting to the wood consistent with material, in particular a large split at the back, and splits running vertically through the Virgin's head, chest and drapery and across Christ's thighs. There is a small hole in the top of the Virgin's head (for a lost halo), a hole in her proper left shoulder at the back and some scratches to her chest. There are losses to the edges and corners of the base, particularly at the front (centre, lower edge) and back (upper right corner). Two wood inserts are visible to the underside. There is non active worming visible mostly to the base. Otherwise the condition is relatively good considering the age, with minor dirt and wear consistent with age.
"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 Pietà first appeared in the visual arts around 1300 and was the result of a renewed identification with the suffering of Christ. The scene, in which the Virgin mourns her dead son, was separated from the Descent from the Cross and the Entombment. In later centuries sculptures of the Pietà were often an exercise of virtuoso carving of anatomy and idealised features, but when it first appeared the emphasis was on conveying the dramatic power of the scene. This was achieved by focusing on the interaction between Mary and the body of Christ.

The archetypal early Pietà is the wonderfully polychromed carving formerly in the Roettgen collection and now in the Landesmuseum in Bonn (inv. no. 24189). Much like the present statuette, it is characterised by intense expressions, enlarged heads, contrast between the full body of the Virgin and the emaciated Christ, and the flourish of drapery at the Virgin's legs. The difficulty with the Roettgen Pietà is that even though it is securely attributed to Lower Rhine area it has been variously dated from the late 13th to the late 14th century. In the Schöne Madonnen am Rhein exhibition catalogue (op.cit.), it is convincingly argued that the Bonn sculpture must have been carved in the mid-14th century on the basis of details in the clothing of the Virgin.

RELATED LITERATURE
R. Suckale (ed.), Schöne Madonnen am Rhein, exh. cat. LVR-Landesmuseums, Bonn, pp. 189-190, no. 13