Christie's New York, 21 October, 2005, lot 465

Minor worming and remainders of polychromy. Losses include her proper right hand, piece of edge of drapery below her abdomen and other losses around edges of drapery. Losses around bottom edge of sculpture. Her neck with old crack and repaired with wood fill. Portion of backside of her right hand plait lacking. Some iron nails inserted for consolidation. Chip to tip of nose. Pupils and irises heightened with black paint.
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.

Stylistic links exist between this figure of Saint Catherine and the figure of Saint Barbara in the Museum of Fine Arts, Boston (1947.1020) called "French, Alsace," and the reliquary bust of Saint Margaret, attributed to Nicolas Gerhaert van Leyden and workshop, in the Art Institute of Chicago (1943.10). The sculptor clearly worked within the sphere of influence of Gerhaert who was active in Strasbourg by 1460. While the features are not identical, the diminutive mouths and turned up and pinched noses with very narrow bridges and the treatment of her hair with gathered braids are characteristic features in many of Gerhaert's female figures.

RELATED LITERATURE
Gothic Sculpture in America, I. New England Museums, New York and London, 1989, no. 26, pp. 44-46