English, Nottingham, 15th century

F. Cheetham, The Alabaster Men. Sacred Images from Medieval England, exh. cat., Daniel Katz Ltd., London, 2001, pp. 22-23
F. Cheetham, Alabaster Images of Medieval England, Woodbridge, 2003, p. 40

Overall the condition of the alabaster is good, considering the age of the relief. There is dirt and wear to the surface consistent with age. There are fragments of surviving original polychromy. The top right corner of the relief and the far right figure's proper left hand are lost. There are also losses to the pinnacles of the coronet, to the edges of the Saint's hat, to the far left and right figure's raised hands, the left strap of the bier, the Saint's proper right foot and to six of the eight figure's noses. There are further chips and abrasions including to the edges of the relief. There are scratches to the back of the relief and some old mount holes.
"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."

Erasmus, the 3rd century Bishop of Formiae and patron saint of sailors and sufferers of abdominal pain, is shown being martyred in this rare medieval English alabaster relief. Despite the gruesome nature of the martyrdom – the saint was disembowelled with the use of a windlass – there is a sense of serenity to this scene, with the saint lying down horizontally, his stoic gaze fixed upon the heavens, as the sabre-bearing Roman Emperor Maximian calmly observes the execution. Surrounding these two central protagonists are the Emperor’s executioners, torturers and guards, two of whom wind the windlass, whilst another pair inflict further pain upon Erasmus from underneath the trestle table.

The city of Nottingham in the English Midlands was the main centre of production of such alabasters during the 15^th century, though they are known to have been carved as far afield as York and London. Today, they are celebrated both for their almost modernist abstract beauty, but also because they represent some of the last remaining traces of English medieval art, which was all but wiped out during the Reformation. One of the reasons for the survival of relatively many Nottingham alabasters was that they were traded internationally, with examples being found as far north as Iceland and as far south as Asturias in Northern Spain (see the superb retable from Asturias sold in these rooms on 5 December 2012, lot 13).

In his book, Alabaster Images of Medieval England, Francis Cheetham records 13 panels representing the martyrdom of St. Erasmus, including the present relief. Examples can be found in the Victoria and Albert Museum, London (fragmentary) (inv. no. A122-1946), the Ashmolean Museum, Oxford, and in the Art Museum, Denver (Cheetham 2003, op. cit. p. 39).