Southern German or Austrian, probably Bavaria, circa 1520-1530

Overall the condition of the wood is very good, with some wear and dirt to the surface consistent with age. There are a few minor losses, particularly to the bottom of the base, where there is some evidence of past worming, and to the proper left big toe of the Christ Child. It is likely that the gilding and polychromy have been refreshed in areas. There is wear to the polychromy and gilding, including craquelure and some flaking. There are particular losses to the polychromy at the bottom of the Virgin's mantle at the back. There is some very minor splitting to the wood, consistent with the material, notably to the drapery between the Virgin's feet. There is a hole to the top of the Virgin's head and another to the Christ Child's head on the proper 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 present lot shows the Virgin holding the Christ child on Her arm in a seated position, Her hands clasped together at the front. The gesture allows the child to sit comfortably on her arm, perhaps more so than is usually the case in these compositions. The Virgin's large, round face and small mouth compare to similar Virgins in the Bayerischen Nationalmuseum in Munich (op. cit. nos. 233, 273). 

The Christ child holds a bird grasped in His fist; a motif often explained as allegorical for the holy ghost. However, with the rise in interest in Christ's humanity towards the later Middle Ages, and the apocryphal Infancy Gospel of Thomas, the bird may well refer to a legend from that gospel. The boy Jesus is said to have sculpted birds out of clay, and blew life into them. In medieval theology, this story was often interpreted as an allegory of Christ's Resurrection. 

RELATED LITERATURE
T. Müller, Die Bildwerke in Holz, Ton und Stein von der Mitte des XV. bis gegen Mitte des XVI. Jahrhunderts, cat. Bayerisches Nationalmuseum, Munich, 1959, nos. 233, 273