North East French, last quarter 14th century

with Edouard Bresset Antiquaires, Paris, 1977

J. Boccador, Statuaire Médiévale de France de 1400 à 1530, Zoug, 1974, pp. 45-46, figs. 32 and 33b

Overall the condition of the wood is good with minor dirt and wear to the surface consistent with age. There is wear to the polychromy throughout. There are some small losses: to the beard and hair; to the ground at the sides and back (particularly on the right side). There is some evidence of past worming, most evident to the figure's back and back of the head. There is some stable splitting, consistent with material, particularly at the back. There are a few holes and screws to the back of the head.
"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."

In her impressive tomes on the subject, Boccador presents this figure of Saint Andrew as one of the forerunners of the naturalistic tendency that would dominate French sculpture from the 14th century onwards. (op.cit.) Even though it adheres to the typical scheme for apostles in post-Sluter sculpture, the face of the saint has been enlivened with the long, masculine nose and thoroughly incised beard. The drapery is rhythmically arranged and emphasises the body’s slight sway, producing movement much like statues carved in Île-de-France. However, the weight and monumentality of the figure does suggest a more eastern French origin. The use of oak, strong proportions, and the severe face -with its distinctive nose and the recessed rounded eyes-, led Boccador to compare it to an apostle in the Church of Saint Sernin in Toulouse thought to have been carved in northern France.