Sotheby's London, 5 July, 2016, lot 121

Overall standard wear and some age cracks on each figure (stable). Some chipping and losses throughout including some edges of drapery on Virgin's veil, next to her proper right elbow, edge of drapery below St. John's proper left arm, the end of the Magdalene's veil, and chip to front of Christ's perizonium. Remains of old restorations to age cracks near Virgin's proper right arm, to the dowel for attachment on underside of St. John, to Magdalene's proper right forearm (separation between arm and her wrist). Some glue around Christ's feet and loss to one toe. Restoration to some of his fingers and some small losses as well. Losses to several toes of Magdalene's proper left foot. Flaking later polychromy. Lovely quality.
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.

This dramatic style of carving in this Crucifixion group relates to the work of the Konstanz sculptor Christoph Daniel Schenck and his circle. Compare the slender forms and the treatment of the drapery on Schenck's figures, including the St. John in Weissenau (op. cit., no. 75) and a Crucifixion ascribed to his circle (op. cit., no. 82). 

RELATED LITERATURE
Christoph Daniel Schenck, 1633-1691, exhibition catalogue, Württembergisches Landesmuseum, Stuttgarꦿt (et al.), Sigmaringen, 1996