Flemish, Brabant, late 15th century

Private collection, The Hague, Netherlands

Overall the condition of the wood is very good. There is some minor wear and dirt consistent with age. There is are some minor traces of worming to the reverse and there are a few traces of polychromy in the crevices. There are several restorations. The group was once removed from a mount and the central and right figure on the top were reattached; the joints of which are visible on the reverse. The proper lower left arm of the figure placing the crown of thorns on the left in the middle is a replacement, as are both arms of the central figure on the top. There is a further replaced section to the left side of the base. There are a few small losses including to the proper left hand of the bearded figure on the far right. The Mockers' attributes are lost. The group is held upright on the base with a metal rod which slides behind a modern wood bracket on the reverse of the group.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The composition of this carving can be found throughout Netherlandish and German 15th and 16th-century art. The exact origin of the design is unknown, but its dissemination was aided by prints, such as the Crowning from Martin Schongauer's Passion series from circa 1450, and influential altarpieces like Hans Holbein the Elder's Grey Passion (1495). A sculpted example can be found in St. Chad's Cathedral, Birmingham which was cautiously attributed to the Cologne area by Woods (op.cit.) . In contrast to the St. Chad's carving, the present group has a stippled ground, typical of Netherlandish late Gothic wood sculpture. A Flagellation from the Rijksmuseum (inv. no. R.B.K. 15608), associated with early 16th-century Antwerp painting by Leeuwenberg (op.cit.), is similarly organised and compares well to the expressive poses and contorted faces of the figures surrounding Christ.

RELATED LITERATURE
Bartsch 13 (125); J. Leeuwenberg and W. Halsema-Kubes, Beeldhouwkunst in het Rijksmuseum, Den Haag/ Amsterdam, 1973, pp. 141-42, no. 157; K. Woods, Imported Images. Netherlandish late gothic sculpture in England c. 1400-c.1550, Donington, 2007, pp. 285-87