Elevated high in his mother’s arms, the Christ Child holds the end of her belt, a gesture that may indicate the mystical marriage of Christ and his mother, a theme frequently mentioned in popular hymns and sermons. This detail is characteristic of similar sculptures from Normandy. Stylistic elements including the Virgin’s pose and the rendering of drapery folds buttress the attribution to Normandy.
George and Florence Blumenthal, Paris and New York (by 1926-1941)
Rubinstein-Bloch, Stella. Catalogue of the Collection of George and Florence Blumenthal, New York: Volume 2, Sculpture and Bronzes, Mediaeval and Renaissance. Paris: A. Lévy, 1926. pl. I.
Forsyth, William Holmes. "A Mediaeval Statue of the Virgin and Child." The Metropolitan Museum of Art Bulletin, n.s., 3, no. 3 (November 1944). pp. 85–88.
Ostoia, Vera K. The Middle Ages: Treasures from the Cloisters and the Metropolitan Museum of Art. Los Angeles: Los Angeles County Museum of Art, 1969. no. 69, pp. 150-151, 258.
Schrader, Jack L. "Recent Acquisitions: A fourteenth century cult image of the Virgin rediscovered." Bulletin: The Museum of Fine Arts, Houston 3, no. 3 (May 1972). p. 27 n. 11.
Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 1983. no. 36, p. 352.
Stubblebine, James H. "French Gothic Elements in Simone Martini's Maestà." Gesta 29, no. 1 (1990). p. 139, fig. 4.
Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. 2nd ed. New York: The Metropolitan Museum of Art, 1994. no. 37, p. 386.
Béranger-Menand, Brigitte. La statuaire médiévale en Normandie occidentale: La Vierge à l'enfant XIIIe-XVIe siecle. Manche: Conseil Général de la Manche, 2004. pp. 217, 218.
Wixom, William D. "Medieval Sculpture at the Metropolitan: 800 to 1400." The Metropolitan Museum of Art Bulletin, n.s., 62, no. 4 (2005). p. 30.