Workshop of Niclaus Hagenower (circa 1445/1460- before 1538) German, Strasbourg, circa 1490-1500

private collection, Limburg

Overall the condition of the wood is good, with dirt and wear to the surface consistent with age, including dust to the crevices. The relief is composed of three sections, and joints are visible, running vertically across the composition to Christ's proper right side and through two of the apostles on the right hand side; there appear to be some glue restorations in these areas. There is some minor splitting to the wood, consistent with the material, notably to the curly haired Apostle's head and below the top edge towards to right side. There are several chips and minor losses, in particular to the bottom edge. There is a loss to the background just above the head of the Apostle to Christ's proper right side. There is an original circular wood insert to each of the top corners. There is some wax around one of the joints at the back. There are a few holes to the back, and another hole to the proper right edge. There is minor evidence of non-active worming, including to the corners at the top. There is a varnish to the surface throughout.
"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 sculptor of the present relief has used the thirteen characters present at the Last Supper to display his skill in carving an extraordinary variety of facial types. The Apostles are not only beautifully individualised, the finesse with which the small scene is carved equally places the artist in the upper echelons of South German limewood sculpture. Especially the realism of the two capped figures on the top left and lower right stands out. The defined folds and wrinkles of their faces and the broad mouth relate closely to a group of busts in stone and wood by Nicolaus Gerhaert von Leyden and his followers in and around Strasbourg. Particularly the so-called Younger Bust which represents a balding figure from a set of four in the Musee de l'Oeuvre Notre-Dame has precisely the same facial features as the Apostle on the lower right of the present relief (inv. no. 444). The set is securely attributed to Niclaus Hagenower (see Berentzen, op.cit., pp. 270-273). In Hagenower's large Ascension of the Virgin relief in the parish church of Saverne, illustrated on the cover of Berentzen's recent monograph, more of the facial types of the present relief appear, including the gnome-like bearded figure on the top right. There are also clear parallels with the drapery as well as the foreshortened feet with their pronounced anatomy. Hagenower was active in Strasbourg between 1493 and 1526. In addition to the carvings mentioned above, Hagenower produced three major retables and an extraordinary pulpit in Strasbourg which have all been largely lost. His most famous work is the sculpted interior and predella of the Isenheim Altarpiece in Colmar, which was produced in conjunction with Matthias Grunewald.

RELATED LITERATURE
B. Berentzen, Niclaus Hagenower. Studien zum bildhauerischen Werk, Petersberg, 2014, pp. 262-282, nos. 0.1, 0.2, I.1, II, II.E.3, and IV