English, probably Nottingham, circa 1440

Overall the condition of the alabaster is good, with minor dirt and wear to the surface consistent with age. There is a restored break running across the top section of the relief below Christ's arms. The Virgin has lost her hands and attribute. The alabaster retains much of its probably original polychromy. It may have been refreshed in a few areas, and there is wear. There are a few small chips, particularly to the edges. Christ has lost his proper right big toe. There are a few small old holes in the reverse. There is a series of well-restored breaks at the top, including below Christ's arms, his upper chest, and below his ribcage. Overall measurement (including stand): 52 by 30.5 by 15cm., 20½ by 12 by 5 7/8 in.
"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."

Alabaster was quarried near Derby, west of Nottingham, from the Middle Ages onwards. Initially it was used in tomb carving and although unsuitable for outdoor use its popularity increased and it was carved as figures and reliefs illustrating the Life of Christ and the Saints. It was easy to carve as well as to paint with vivid medieval paints, which, in many, instances remain. By the fifteenth century, an international trade for such reliefs was in existence with examples reaching as far north as Iceland and as far south as Spain and the Mediterranean (see the magnificant altarpiece from Castropol in Spain, which was sold at Sotheby's on 5 December 2012, lot 13).

Although these reliefs were carved in a number of places, such as Burton-on-Trent, Chellaston, York and even London, it was Nottingham, which was the major centre for production. Following the Dissolution of the Monasteries in 1539, the industry suffered as the number of commissions shrank away, dying out completely by the end of the reign of King Henry VIII in 1547.

The present relief is compositionally close to Cheetham's Crucifixtion - Type C, see for, example, the alabaster in the Museum Boymans van Beuningen, Rotterdam (Cheetham, op. cit., p. 122, no. 23). Stylistically, however, it is arguably closer to the example in the Musée d'Art et d'Histoire, Lille, from Type E (Cheetham, op. cit., p. 126, no. 19).

RELATED LITERATURE
F. Cheetham, English Medieval Alabaster: With a catalogue of the collection in the Victoria and Albert Museum, Oxford, pp. 113-115; F. Cheetham, Alabaster Images of Medieval England, Woodbridge, 2003, pp. 46-48; R. Marks and P. Williamson, Gothic Art for England 1400-1547, exh. cat. Victoria and Albert Museum, London, pp. 390-396, nos. 275-283