South Netherlandish or English, first half 15th century

private collection, Frankfurt, until the 1930s;
by descent to a private collection, United Kingdom

O. Schmitt and G. Swarzenski, Meisterwerke der Bildhauerkunst in Frankfurter Privatbesitz. Band I. Deutsche und Französische Plastik des Mittelalters, Frankfurt, 1921, no. 63;
G. Swarzenski, 'Deutsche Alabasterplastik des 15. Jahrhunderts', in Städel-Jahrbuch, vol. 1, 1921, pp. 167-213, fig. 77

Overall the condition of the alabaster is good, with some dirt and wear to the surface consistent with age. The surface is covered with a clay-like substance on the reverse and the top half of the background potentially masking one or more breaks. There is an area of restoration around the shins of Magdalen and the waists of the kneeling angels. The polychromy is largely worn; remnants remain primarily on the curtain behind Mary Magdalene, and on the terrasse. There are a few chips and abrasions, including to the wing of the Angel on the left side, one of the knobs above the curtain, and larger losses to the right edge and the bottom edge at the front. The faces are slightly rubbed. The velvet covered base is in good condition, with some wear and dirt.
"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."

Writing in the 1920s, Swarzenski (op. cit.) proposed a South German origin for this beautiful relief, noting a relation to contemporary Swabian and Franconian sculpture. However, the type of composition and stylistic features such as the round button-shaped eyes fit well into the corpus of Nottingham alabasters. 

RELATED LITERATURE
F. Cheetham, Alabaster Images of Medieval England, Woodbridge, 2003, figs 60 and 106-113