French, late 15th/ early 16th century

Given the age of the sculpture, the stone is generally in good condition, with dirt and wear to the surface consistent with age. Christ's head is lost, and the top of the Virgin's head is lost above the crown. There are a few remnants of original polychromy and gilding, including at the Virgin's collar and to the back. Christ's proper left foot is lost, and his proper right big toe is restored. There is some flaking to the stone, in particular to the drapery at the bottom. There are darkish marks, in particular to the high points of the drapery, these may be due to moisture. There are some losses to the drapery, in particular to the Virgin's proper left side. The back of the throne is slightly roughly hewn. There are a few small chips and abrasions, in particular to the edges and to the edges of the Virgin's headdress.
"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."

This charming Virgin and Child group compares with North Eastern French late Gothic stone sculpture from the end of the 15th and beginning of the 16th centuries. Compare with the early 16th-century Education of the Virgin group from the church of Saint-Parres in Praslin in the Champagne region. The present Virgin’s facial type is similar to St Anne’s in the Praslin group: note the rounded face with double chin, prominent nose and heavy brow. The flat planes of drapery terminating in swallow tail folds are also close, as is the interest in the complicated belt, which parallels the Virgin’s attributes in the Praslin group. Such attention to decorative details is also typical of sculpture from Troyes. See, for example, the early 16th-century Troyes group offered at Sotheby’s New York on 8 July 1993, lot 26, with similar coronet.

RELATED LITERATURE
P. E. Leroy, Sculptures en Champagne au XVIe siecle, Dijon, 2009, p. 62