Southern Netherlandish, Antwerp, circa 1515

with the Antwerp 'hand' mark to the top of the Good Thief's head

Antwerp, Bank Brussel Lambert, Gotische Groepen uit Antwerps Privé-bezit, 1983, no. 47

Overall the condition of the wood is good, with minor dirt and wear to the surface consistent with age. There are a few minor losses, including to the fingers of the bad thief and his nose, and to the protrusion behind the good thief. There is wear to the gilding and polychromy throughout, including areas of loss to the good thief's proper left shoulder and the drapery around his legs. There is wear to to the polychromy throughout, particularly at the high points. There are several small holes to the front of the terrasse, and to the back, which probably served to attach the group to a larger carved altarpiece.
"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 present relief, showing the good and the bad thief, or the penitent and the impenitent thief, being led to the crosses at Calvary, was probably once part of a larger Passion retable. Although not often depicted separately, the good and the bad thief did usually feature in representations of the Road to Calvary. The present relief, particularly in the slightly caricature-like depiction of the soldiers and the manner of their dress, can be compared to some of the more elaborate polychromed altarpieces made in Antwerp. Compare for example to a Passion altarpiece now in the Musée des Beaux-Arts of Dijon (op. cit. p. 64), another in the Musée Mayer van den Bergh in Antwerp (op. cit. p. 108) and lastly a panel in the Louvre museum, Paris (R.F.2571). 

RELATED LITERATURE
M. Buyle and C. Vanthillo, Retables Flamands et Brabançons dans les monuments belges, Brussels, 2000, pp. 105-111