the Virgin carved with benign expression, her head inclined to the right and covered with a veil, her hair falling in long tresses over her shoulders, wearing a long gown beneath a heavy mantle falling in deep tubular folds, the Child with the orb supported in her left arm, her right hand (probably replaced) originally holding a lily, standing upon the crescent moon, traces of polychromy.

Rosenberg & Stiebel, mid 1950s

While the distinctive areas of compact, deep horizontal folds and creases as well as the pointed chin recall the work of Tilman Riemenschneider and his circle, other facial features and the long, tubular folds of drapery illustrated in the present sculpture indicate a relationship or clear knowledge of work produced around Ulm at the close of th 15th century.  Compare a group of the Madonna and Child from the circle of the Swabian sculptor Niklaus Weckmann the Elder, late 15th century with similar yet less complex drapery in Badisches Landesmuseum Karlsruhe.  Die Mittelaterlichen Bildwerke, Karlsruhe 1985, pp. 267-268, no. 153.