Standard surface abrasions and wear. Some surface restorations. Small losses throughout. Age cracks. Very minor worming. Chip to tip of nose and to toe. Proper right arm, proper left wrist, and bottom of staff restored. Some restoration (fill) to losses from worming along proper left shoulder, upper arm and drapery behind upper arm. Small loss and restoration to edge of cloak on proper left side, to proper left side of mantle and some locks of hair. Old repair to crack in neck. Well carved.
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.

RELATED LITERATURE

M. Baxandall, The Limewood Sculptors of Renaissance Germany, New Haven and London, 1980, pp. 172-90, 259-65; H. Krohm and E. Oellermann, 'Der ehemalige Münnerstädter Magdalenenaltar von Tilman Riemenschneider und seine Geschichte, Forschungsergebnisse zur monochromen Oberflächengestalt', in Z. Dt. Ver. Kstwiss., xxxiv, 1980, pp. 16-99; J. Chapuis, Tilman Riemenschneider: Master Sculptor of the Late Middle Ages, London, 1999; Tilman Riemenschneider. Werke seiner Blütezeit, 2004, pp. 295-7

The elegant curve of the body, the intermittent areas of crumpled drapery combined with deep, angular folds and the serene demeanour of the face with small, pursed lips and delicately carved, downward-sloping eyes all denote a wood carver working close to Tilman Riemenschneider. There are particularly striking similarities between the present work and the pair of angels by Riemenschneider in Eisenach, Wartburg Stiftung, circa 1505 (inv. no. P1, P2),  most noticeably in the facial features including the eyes, diminutive🎐 lips and pointed chin as well as the distinctive tooling of the fringe of the drapery and the articulation of the staff. Furthermore, the faces and slight inclination of the head relates to the figures on Riemenschneider's relief 🎃of angels playing musical instruments in Bode Museum, Berlin, circa 1505 (inv. Nr.1559).

The pendant to this figure was sold 🍬at Sotheby's London, December 12, 1985, as lot 92 an🎃d is now in the collection of Rudolf Oetker.

Tilman Riemenschneider was born in Heiligenstadt in 1460. Little is known of the sculptor's early career; although it is likely he was an apprentice to a stone mason in Erfurt, wheꦇre he developed his skill carving alabaster. It has been suggested he also trained under the direction of Michel Erhart in Ulm. Riemenschneider married a wealthy woman in 1483 and settled in Würzburg. His wife's resources afforded him a workshop and a bevy of studio assistants. The German sculptor's immense skill and talent won him many commissions from local councils, churches, and private patrons in Saxony and Franconia.