SOUTHERN NETHERLANDISH, BRABANT, CIRCA 1530ALTARPIECE WITH SCENES FROM THE LIFE OF SAINT LAMBERT |

oak the caisse crowned by a moulded pediment divided into seven compartments, the upper register surmounted by pierced Gothic arches and choux frisés friezes, each span flanked by vertical appliques in the form of candelabra with figures of the Virgin, Saint John and two bishops, the lower registers of the two lateral spans carved with scrollwork and the profile of a woman in a medallion

Sold by the Alliance des Arts, Paris, in 1847, together with an altarpiece dedicated to the Virgin, now preserved in the Victoria and Albert Museum, London (inv. no. 1049-1855), both reputed to come from Saint Bavo Cathedral, Ghent, and purchased by a Parisian dealer;
Paris art market, circa 1854;
acquired in London by Hubert de Pourtalès (1863-1949), according to family tradition.

P. Lacroix, F. Seré, Le Moyen Age et la Renaissance, Paris, 1848-51, vol. IV, pl. 15; H. Saint Sauveur, Châteaux de Normandie, Paris, circa 1930, pl. 38; P. Williamson, Netherlandish Sculpture, 1450-1550, Victoria and Albert Museums, London, 2002, pp. 24-25, 70-73, 80-83; K. Woods, Imported Images: Netherlandish Late Gothic Sculpture in England, circa 1400-circa 1550, London, 2007, pp. 143-147.

The seven scenes of this altarpiece remain in their original case, with a few restorations and alterations visible in some places (notably to the top). The case appears to have been slightly chopped on both sides, probably no more than approximately 5 cm (in comparison with the lithograph made after the altarpiece in the mid-19th century). There are a few chips and small losses along the edges of the frame and the base of the case. The outer edges of both pilasters, to the far right and left, are fairly damaged with fire marks to the left side of the case and to the frame above. The top of the frame has been broken in three pieces, reattached with joints and rusted screws visible, and there is a 10 cm loss to the right. There are a few losses to the mouldings in some places. The base of the frame is made of three planks of wood with a gap visible between each one and reinforced with two rusted cast iron pieces. Small chips and losses are visible in several places, to the high points and on the figures, consistent with age and handling. The original polychromy and gilding have been totally removed with no remnants visible at all. The vertical supports to the arched framework of the lowest central compartment also appear to have been replaced. The iron hook hinges on the outer edge of both sides of the altarpiece case show that the altarpiece originally had shutters, though they had evidently gone missing before 1847. There are a few losses to the pierced choux frisés friezes: - along the upper edge of the frame of the case; - along the upper edge of the top right scene and the frieze is totally missing along lower edge which is slightly chopped; - along the upper edge of the top left scene and the frieze is totally missing along the lower edge; - along the lower edge of the top centre scene and the frieze is totally missing along the upper edge, with a few losses on the panelling above. Three out of the seven scenes have been altered with missing elements and later additions: - in the lower right scene: the figure to the front right may be an old replacement (consistent with the date and origin of the altarpiece) and the kneeling figure to the front left (young Saint Lambert) is partly missing, together with a standing boy beside him according to the lithograph; - in the lower left scene: the missing element to the front right has been replaced by a later the standing figure, probably the Christ from the lost predella according to the lithograph; - in the upper right scene: the missing element to the front left has been replaced by a later figure of Saint Peter, probably the figure on the far right of the lost predella according to the lithograph. Antwerp marks were designed to be visible, and there are none on this altarpiece. As the carved elements haven't been removed from their original frame, it has not been possible to check for the presence of Brussels marks, which were usually concealed. Considering this altarpiece has been dismantled from its original initial setup (probably by the French Revolutionary troops in the mid-1790s) and saved from the fire which has partially destroyed the Martinvast chateau, on 14 January 1944, it is indeed in overall fairly good condition, in its original case and with only three losses to the scenes.
"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."

This exceptional ensemble was the central part of a triptych with painted wings, typical of altarpieces from the Brabant region of the Netherlands, between 1460 and the first third of the 16th century. The narrative of the Martinvast altarpiece, divided into several scenes integrated in an architectural background reminiscent of chapel architecture, is characteristic of this production. The iconography, however, is more rare. While most Netherlandish altarpieces depict scenes from the Childhood of Christ, the Passion of Christ or the Life of the Virgin, this altarpiece is dedicated to Saint Lambert, Bishop of Liège-Maastricht and staunch defender of the fidelity of marriage and it is feasible that it was commissioned for one of the churches of this powerful bishopric. The lack of a town mark stamped on the figures prevents us from identifying, with certainty, the city where it was produced. The life of Saint Lambert (c. 636-c. 705)

Born into a noble family from Maastricht, seat of the bishopric of a dependent territory of the Merovingian Kingdom (Austrasia), Lambert was probably the son of the Chancellor of Clotaire III. He was baptised by his godfather, Bishop Remaclus, before he was placed under the care of Theodotard, Bishop of Maastricht. At Theodotard’s death, murdered circa 669-675, Lambert took over his bishop’s duties with the support of Childeric II who died in 675. A period of political unrest followed and Lambert was forced to leave his episcopal seat. During his seven-year exile in the Abbey of Stavelot, Lambert spread the Gospel and founded a convent with Saint Landrada, in Munsterblizen. When Pepin II, known as Pepin de Herstal, seized power, he invited Lambert to resume his duties as Bishop of Maastricht.

Although uncertain, the reasons for Lambert's murder were apparently related to dynastic disputes between Merovingians and Carolingians. The origin of his martyrdom goes back to his condemnation of the adulterous affair between Pepin and Alpaïde. By opposing Pepin for having repudiated his virtuous wife, Plectrude, Lambert attracted the wrath of the two lovers. In the early morning hours of 17 September 696 (or 700 or 705), Dodon, Pepin’s domesticus (official in charge of the domains of the State) and Alpaïde’s brother, and his troops arrived in Liège when Lambert was in his home kneeling in prayer. They attacked him by piercing his roof and striking him with a spear. When the attackers left, Lambert’s disciples brought his remains back to Maastricht where he was buried. When Hubert, spiritual pupil of Lambert, succeeded him as Bishop of Maastricht, Hubert had the body of the Saint transported to the place of his death, Liège. A church was built there, attracting innumerable pilgrims. Liège prospered from this new affluence and the church became one of the most important cathedrals in Europe until it was dismantled by the Revolutionary troops in 1794. The relics of Saint Lambert were then transported to the newly built Notre-Dame and Saint-Lambert Cathedral.

The story of the Martinvast altarpiece

On 3 September 1854, John Charles Robinson (1824-1913), a young curator from the Victoria and Albert Museum (V&A), returned from a trip to Paris and recommended that his director, Henry Cole, visit a dealer named Couvreur (48 rue Notre-Dame des Victoires) to see an outstanding altarpiece with scenes from the Life of the Virgin. Indeed, its acquisition for the museum was confirmed by Cole a week after (inv. no. 1049-1855). In his letter Robinson added that Couvreur "says that the merchant from whom he acquired it had paid 6,000 francs for this one and the same sum for a similar one [the Martinvast altarpiece] in Paris.” (see P. Williamson, op. cit., pp. 24-25). Indeed, both the Martinvast and the V&A altarpieces were sold in 1847 by the Alliance des Arts, a publishing, consulting and auction house run by Théophile Thoré and Paul Lacroix, specializing in the trade of books, prints, coins and works of art from 1842 to 1847 (see. K. Woods, op. cit., p. 145).

The wide availability of Flemish religious sculptures during the first half of the 19th century resulted from the annexation of the Belgian provinces by the Revolutionary troops and the sale of the properties confiscated from the Church. When sold by the Alliance des Arts, the V&A and the Martinvast altarpieces were reputed to come from Saint Bavo Cathedral in Ghent (see K. Wood, op. cit., p. 145). The Martinvast piece was thought to have been dedicated to the Life of Saint Bavo, but his biography does not correspond with the scenes depicted here.

A lithograph published by Lacroix and Seré, shows the condition of the Martinvast altarpiece when it was sold by the Alliance des Arts (op. cit., pl. 15). The wings were already missing but the altarpiece is shown surmounted by three unidentified figures and with a predella below depicting Christ with the Apostles, both probably later additions. The altarpiece remained unchanged in the 1930s, when it was published in a book entitled Châteaux de Normandie, hanging in the gallery of the Martinvast chateau (op.cit., pl.38). On 14 January 1944, after the British and American bombings on and around Cherbourg, the altarpiece was miraculously saved from the fire that partially destroyed the castle, expept for the predella, the top figures. Slight damage to the altarpiece case and three of the scenes may also have occurred at this time.

The iconography

The understanding of the two scenes on the right and the scene on the lower left is made more difficult by a few missing elements and the addition of later fragments, though probably originating from the lost predella. Indeed, the figure of Saint Peter on the left of the upper right compartment is recognisable on the lower far right of the lithograph. Again, the bearded man to the right of the lower left scene appears to be the blessing Christ on the centre of the missing predella. Finally, the boy seen from the back on the lithograph, to the centre of the lower right scene, has now disappeared and the kneeled figure beside him is partly missing.

Five out of the seven scenes from the life of Saint Lambert are legible:
- lower centre: perhaps the young Lambert agreeing to accept the office of bishop;
- above: the consecration of Lambert as bishop, comparable to the scene painted on the altarpiece, in Herbais-sous-Pétrain, and to the stained glass window in the collegiate church of Saint-Martin, in Liège;
- lower left: Lambert while in exile, preaching and distributing alms to the poor;
- upper left: the martyrdom of Saint Lambert;
- upper centre: the transposition of the body of Saint Lambert from Maastricht to Liège, under the supervision of Saint Hubert on the left, or, possibly, Lambert’s disciples mourning the body of the Saint-Martyr.

The lithograph made after the altarpiece allows a better understanding of the last two scenes:
-  the compartment on the lower right could depict the Miracle of Fire: the young saint (now partly missing) brings hot coals carried in a cloth to Saint Landoald to light the incense during the celebration mass
 - the upper right scene could depict Saint Lambert interceding with Pepin (both now missing to the left) in favour of his repudiated wife who is imploring him from the right. Alternatively it may also be the Miracle of Water in which Lambert (now partly missing) makes two springs of water gush from the ground with his stick.

 

The Martinvast altarpiece was carved at a moment when the story of Saint Lambert was in great favor in the Southern Netherlands. His reliquary bust in the Treasury of Liège was made in 1512, by the goldsmith Hans von Reutlingen and commisioned by Erard de La Marck, prince-bishop of Liège. The organization of this altarpiece divided into several scenes integrated in an architectural background is comparable to the Brussels examples in Boussu-lez-Mons and in the V&A. The integration of decorative elements, such as columns, medallions with profiles of women and scrollwork, together with the Gothic motifs, date this altarpiece to the transitional period between the end of Gothic style and the diffusion of Renaissance models in Flanders. The physical features of the figures are comparable to the Brussels models such as the seven fragments of the Legend of the True Cross in the V&A (inv. no. 114 to 114F-1908).

Despite the dismantling and destruction of churches and their furnishings and the ravages of war, the seven scenes have remained in their original caisse - apart from the three missing elements previously mentioned - which makes this altarpiece a unique surviving example of this kind. Its association in 1847 with the V&A altarpiece, dedicated to the Virgin, could indicate the same provenance for the present altarpiece. If they did indeed originally come from a cathedral, they were both more likely to have been made for the now destroyed Cathedral of Liège, the patron saints of which were both Saint Lambert and the Virgin, rather than the Cathedral of Saint-Bavo in Ghent, as stated in 1847.

We are most grateful to Dr Kim Woods and Mr Philippe George, curator of the Treasure of the Liège Cathedral, for their help in investigating this altarpiece and its iconography.