This large sculpture of The Virgin and child can be assimilated to the works of art executed in Flanders in the 15th century. Art production was flourishing in Flanders at that time, yet this work is not without influence from French art.
This French influence can be recognised in the slight arch in the Virgin’s posture and the way she carries the child, dressed in a long tunic, with both hands.
The delicately gathered dress appearing under the heavy cloak shows workmanship of fine quality, realised by a great master.
The two sides of the cloak wrap the arms of The Virgin which hold her child. The cloak is livened up with deep and angular folds which spread from two points.
The folds on her left arm spread out like rays from a pinch in the fabric, a characteristic of Flemish workshops.
On her right arm however, the long fluted folds fall naturally onto the floor.
The structure of the face suggests that this sculpture would have come from Brabant, (The Brabant region and the Mosane region are also part of Flanders). This facial structure consists of a high and rounded forehead, a straight, slightly turned up nose and a small mouth, the corners of which are turned up revealing a slight smile. Finally the long wavy locks of the Virgin, covering her shoulders, are particularly well executed.