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Lot Essay
In stylistic terms, French sculpture developed considerably in the transition from the 14th to the 15th centuries. While 14th century figures still retained strong traces of the rigid forms of the architectural figures adorning cathedrals such as Chartres and Amiens, the 15th century marked a shift to a stylised yet significantly more naturalistic manner, as seen in the present example. This figure, with a passive rounded face, demonstrates the delicacy and restraint of the artist. The simplicity of the overall form, especially in the softness of the facial features and the geometrically formed 'hourglass' figure, is juxtaposed with the intricacy of the chiselling on the bodice and the thick rich folds of the cloak and the dress.
Stylistically, this figure can be compared to a 15th Century group of the Annunciation in a church in Island in the Yonne province (Quarré, loc. cit.). All three figures have similarly rounded faces and almond-shaped eyes with heavy lids that exude the same sober look. They also display the artist's fascination with the way in which the folds of their garments taper down and gather at their feet. A further comparison can also be made with a figure of St. Barbara from Autun in the Saône province (Boccador, loc. cit.). Both figures are represented in the same dress and posture, although with subtle differences in the facial type.
Stylistically, this figure can be compared to a 15th Century group of the Annunciation in a church in Island in the Yonne province (Quarré, loc. cit.). All three figures have similarly rounded faces and almond-shaped eyes with heavy lids that exude the same sober look. They also display the artist's fascination with the way in which the folds of their garments taper down and gather at their feet. A further comparison can also be made with a figure of St. Barbara from Autun in the Saône province (Boccador, loc. cit.). Both figures are represented in the same dress and posture, although with subtle differences in the facial type.