Netherlandish, probably Brussels, late 15th century

the base and the Crucifix probably associated

's-Hertogenbosch, Noordbrabants Museum, Beelden uit Brabant 1400-1520, 1971
Aachen, Suermondt-Ludwig-Museum, In Gotischer Gesellschaft. Spätmittelalterliche Skulpturen aus einer niederländischen Privatsammlung, 1998
Enschede, Rijksmuseum Twenthe, Hemelse beelden. De middeleeuwse sculpturen uit de collectie Goldschmidt, 2001

Beelden uit Brabant, exh. cat. Noordbrabants Museum, 's-Hertogenbosch, 1971, no. 78, fig. 80;
J. Boccador and E. Bresset, Statuaire Médiévale de collection, II, Milan, 1972, p. 216, fig. 231;
U. Schneider and D. Preising, In Gotischer Gesellschaft. Spätmittelalterliche Skulpturen aus einer niederländischen Privatsammlung, exh. cat. Suermondt-Ludwig-Museum Aachen, 1998, pp. 35-38, no. 7;
H.O. Goldschmidt, Hemelse beelden. Het verzamelen van kunst, exh. cat. Rijksmuseum Twenthe, Enschede, 2001, p. 9

Overall the condition of the wood is good with wear and some dirt to the surface consistent with age. The polychromy is largely lost at the lower half; some polychromy remains, in particular on the horses. There is wear, including flaking, to the polychromy and gilding on the figure of Christ, particularly at the high points. The proper right hand of the rider on the far side and a section of the horse's proper right front leg are lost. There are a few further losses, including to the middle rider's proper right fingers, the saddle strap, and the thorns of Christ's crown. The lower section is composed in sections, and a joint is visible running vertically through the kneeling woman; her proper left arm is carved separately. Joints are also visible at Christ's shoulders and his proper left hand, where a section may have been reattached. There is stable splitting to the wood, consistent with the material. There is some evidence of past worming, notably at the back, the rider's leg and the cross. There are a few chips and minor losses to the edges of the composition. There are small holes to the tops of the heads of the standing figures on the left side and Christ. The cross is slightly loose in its setting. There are three metal mounts at the back, one of which supports the cross.
"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."

It is rare for a privately owned Netherlandish group from a retable to survive this intact and to retain its original composition. As a result it clearly illustrates the sophistication of Netherlandish late Gothic wood carving. Firstly, the positioning, poses, and gestures of the figures smoothly lead the onlooker’s gaze from figure to figure and finally to the apex of the group, Christ crucified. And upon closer examination, the varied treatment of the figures’ opulent contemporary costumes, physiognomy and expressions typical of the style are emphasised by the presence of so many characters. As is suggested by Dagmar Preising in In gotischer Gesellschaft, the ovoid heads and slight and fine facial features of the women and Saint John in the lower half of the scene suggest the piece was carved in Brussels by a follower of Jan Borman.