South German, probably Swabia, circa 1500

St. Dorothy with an old paper label printed: R. VON KAUFMANN / 331 and an old paper label inscribed: 201
St. Odile with an old paper label printed: R. VON KAUFMANN / 330

Richard von Kaufmann, Berlin, before 1898
his sale, Paul Cassirer and Hugo Helbing Berlin, 4 December 1917, lots 330 and 331
there purchased by Jüstizrat Pollak
Sotheby's London, 20 December 1973, lot 34

Berlin, Kunstgeschichtlichen Gesellschaft, Ausstellung von Kunstwerken des Mittelalters und der Renaissance aus Berliner Privatbesitz, 1898, nos. 258-259

Overall the condition of the reliefs is good with dirt and wear to the surfaces consistent with age. There is minor non-active worming to both reliefs, including to St. Odile's face. The reliefs are composed of separate panels and joints are visible. There are some losses to the polychromy and gilding, which may have been refreshed. The velvet-covered and wood frames are in good condition. Note the following specifics: St. Dorothy: The proper left hand is lost. There are a few small losses to the edges, including to the drapery near the proper left foot. There is a possible reattachment to the console on the left side. There are a few inserts to the reverse. There is wear to the nose. St. Odile: There is a loss to the proper right thumb. There is minor stable splitting to the wood consistent with the material. There are possible restorations to the base. There are two holes to the reverse at the top. Inserts are visible to the reverse, including to the left side of the base. There are a few small chips to the edges.
"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 elegant pair of low reliefs is likely to have adorned the wing of a major altar piece. These wings, also known as shutters, were mounted on either side of most altarpieces and usually represent ancillary scenes or saints. The wings could not be too heavy so German sculptors solved this problem by adorning them with very shallow reliefs. During the time around 1500 many grappled with the problems of foreshortening and suggestion of plasticity this involved. The results are often charming, with figures stretched or widened against the background in order to accommodate their animated facial expressions, limbs and drapery. The wings of some of the foremost South German altarpieces were supplied with this type of carving. See, for example, Tilman RIemenschneider’s altarpiece with scenes from the Life of the Virgin in Creglingen (see Kahsnitz, op.cit.,  pp. 238-253).

Even though individually carved saints are usually attributable to Swabian masters, the elongated bodies, vertically oriented drapery scheme and classical proportions of the faces of the present saints suggest that they may have been carved further North, in Franconia. Compare with, for example, a Mourning Virgin in the Germanisches Nationalmuseum from Nuremberg illustrated by Baxandall (op.cit., pl. 62).

Saint Dorothea of Caesarea was often among the fourteen Nothelfers, a group of saints venerated because their intercession was believed to be particularly effective against diseases. Her attribute is a basket with apples and roses from the gardens of heaven, which she sent as a gift to Theophilus, one of her converts, shortly before her death. According to a late 10^th century account of the life of St. Odile of the Alsace, she was born blind but miraculously gained eyesight after being baptised and therefore she became the patron saint of eyesight. She was among eleven Virgins that set off from England to spread the gospel during a pilgrimage to the East. She founded the monastery in Hohenburg, Alsace, and plays an important part in the Order of the Crosiers, hence her nun’s habit.

RELATED LITERATURE
M. Baxandall, The limewood sculptors of Renaissance Germany, New Haven/ London, 1980, pl. 62; R. Kahsnitz and A. Bunz, Die groβen Schnitzaltäre. Spätgotik in Süddeutschland, Österreich, Südtirol, Munich, 2005, pp. 238-253; N. Jopek, German Sculpture 1430-1540. A catalogue of the collection in the Victoria and Albert Museum, cat. Victoria and Albert Museum, London, 2002, pp. 102-103, no. 46