The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This painting has not been restored for a number of years and is in very good and fresh condition. The very heavy panel seems to have been mounted onto a fresh, stable and flat panel which is painted gold on the reverse and which is stabilizing the surface. Originally this panel was made from a series of sections of wood joined vertically. All of these joins are stable and structurally the picture is in very good condition. The paint layer is dirty and there appears to be no abrasion to the original paint layer. There is a little wear in the original gilding of the halos visible. Old restorations, although clearly visible under ultraviolet light, are visible to the naked eye in isolated spots here and there. Most notable is a restoration in the lower red curtain on the right side, in the curtain as it extends into the upper right, in the waist of the leaning saints on the right side and in the arms of the saint holding the book in the upper right. The gilding in the sky above the landscape is quite worn however the faces, the hands and bulk of the detail throughout the picture is very crisp and well preserved. There are restorations here and there throughout the paint layer and if the picture were to be cleaned, they would require attention. Nonetheless, the painting is in lovely condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present painting is after an engraving by Martin Schongauer, The Death of the Virgin.¹  His engravings were immensely popular in the 15th century and circulated widely throughout Europe.  The artist has made specific additions to the composition which help to pinpoint it to the area around Lake Constance and the Ulm School.  For example, the gate in the right background recalls that in the city of Meersburg, on the shore of the Lake Constance.  The style also suggests that this artist may have been a pupil of Hans Schüchlin, who was active in Ulm before moving to the Lake region.

We are꧂ grateful to Ludwig Meyer for his assistance in cataloguing this painting.

 

1  See N. Stogdon, Hollstein's German Engravings, Etchings and Woodcuts 1400 - 1700, vol. XLIX, Rotterdam 1999, p. 𝐆48-52, no. 16, reproduced pp. 48, 49, and 50.