With Sam Fogg, London

Losses, chipping, and wear throughout. Losses include: points to crown; left hand edge of his orb; part of her proper left hand and original flower. Chipping around front of her drapery. Two holes drilled on each side of lower edge of drapery (visible in catalogue image). The underside fitted with brass hollow pins for mounting. Remainders of polychromy.
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 majority of the surviving Nottingham alabasters are in the form of rectangular reliefs that were incorporated into larger altarpieces. However, this alabaster group was made as a free-standing, independent statuette rather than as part of a relief. The Madonna and Child likely would have been placed in a position of honor on the side of a high altar, framing the central scenes and paired with another figure on the opposite side. The width of the present sculpture, the facial type, rendering of the hair, crown and patterns of drapery folds are analogous to a figure of St. Barbara in the Victoria & Albert Museum (inv. no. A61-1921), published in Francis Cheetham, English Medieval Alabasters. With a Catalogue of the Collection in the Victoria and Albert Museum, Oxford, 1984, cat. no. 6, p. 77.