Circle of Veit Stoss (circa 1450-1533) German, Franconia, circa 1510-1525

with an old label to the reverse inscribed: 428 

Overall the condition of the wood is good, with some wear and dirt to the surface consistent with age. A former layer of polychromy has probably been removed from the wood. The blade of the sword is lost. There is stable splitting to the wood consistent with the material, including several filled splits, notably: to the face, to the chest, to the proper left arm, and to the proper right knee. There is also splitting around the nose, which is carved separately and may be replaced. Several further sections are carved separately and may be replacements: Three sections of the drapery falling from the proper left hand; the pinnacles and orbs of the crown; the proper right hand; the proper left thumb and sections of the wheel; part of the chin; and the proper right foot and sections of the base at the front. Several sections at the sides of the back are also carved separately, and some appear to be of a later date. Parts of the wheel have been reattached and some residue is very slightly visible around the joints. There is evidence of past worming in several areas, notably to the proper left shoulder, below the chest, and around the bottom, where there are some losses to the rockwork on the proper right side. There are a few naturally occurring knots in the wood, notably one to the drapery between the legs. There is a small metal hook with metal wire to the reverse. The figure is inscribed: 603 on the reverse.
"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."

Saint Catherine is represented as a lean, youthful figure, with a slight S-curve in her stance. Her opulent cascading drapes below the hand that holds the symbol of her martyrdom contradict the delicacy of her frame, highlighting the force of the young woman's act of shattering the wheel. 

The inventive folds of her sumptuous drapery bring the figure into direct association with the leading limewood sculptor in Nuremberg, Veit Stoss. Active primarily in Nuremberg and Krakow, Stoss and his workshop created celebrated altarpieces that are characterised by a masterful technical accomplishment and almost baroque, billowing, drapery. The motif of the repetitive folding of Saint Catherine's drapery around her proper left arm are seen in many of Veit Stoss's figures, notably the fragmentary sandstone Virgin in the Germanisches Nationalmuseum (inv. no. Pl.O. 2782). A particularly striking parallel for the present Saint's characteristic face, with slanting eyes and a large forehead, is found in the small boxwood Virgin and Child by the master that is conserved at the Victoria and Albert Museum (inv. no. 646-1893). An origin of the present figure within Veit Stoss' close circle is therefore likely. 

RELATED LITERATURE
G. Bott and R. Kahsnitz (eds.), Veit Stoss in Nürnberg: Werke des Meisters und seiner Schule in Nürnberg und Umgebung, Nuremberg, 1983

An expertise by Dr. Christoph Metzger, dated 27 January 2013, is available upon request.