South Netherlandish or Rhenish, early 15th century

each with two PROPERTY OF THE BUFFALO FINE ARTS ACADEMY ALBRIGHT ART GALLERY BUFFALO, N.Y. labels inscribed: ARTIST Dutch School, late 14th century / TITLE Altar panel, with two saints / ACQUISITION No. 29:3 and 29:3; one numbered: #12, the other: #13 on the reverse; one numbered: 485, and the other with an illegible label to the top of the frame

Michael Cuypers, Rochester, NY, 1929;
Albright-Knox Art Gallery, Buffalo, New York;
its sale, Sotheby's New York, 8 June 2007, lot 410

Seventeenth and Eighteenth Century Netherlands Furniture, Tapestry and Paintings, AAG, 1928-29, cat. nos. 12-13, p. 5

Academy Notes, Buffalo Fine Arts Academy, published 1905-1931, September, 1931, p. 34; Andrew C. Ritchie, ed., Catalogue of the Paintings and Sculpture in the Permanent Collection, Albright Art Gallery, Buffalo, 1949, p. 212, no. 222; Medieval Art in Upstate New York, Everson Museum, Syracuse, 1974, cat. p. 124; S. Nash, Albright Knox Art Gallery, Painting and Sculpture from Antiquity to 1942, Buffalo, New York, 1979, p. 159

Overall the condition of the wood is good with wear and dirt to the surface consistent with age. The cases were made in sections; some of the joints are slightly visible. There is some stable splitting to the wood consistent with the material, including to the tracery of the case with the Gothic arches. There is a sawn cut to the edge of the case with the pointed arches. There are several minor losses to the paint, particularly around the high points, and including to the chest of the saint with the spear, the base of the saint with the long staff, the nose and book of the saint with the pilgrim's staff, around the legs of the saint with the sword, and the corners of the cases. There are refreshed areas to the polychromy throughout, chiefly where the earlier polychromy has rubbed. There is craquelure to some sections of the gilding on the cases, particularly the outer edge. There is some minor worming to the surface consistent with the material, which is mainly to the outer edges on the reverse. There is a chip to the wood in the bottom left corner of the case with the Gothic arches. The tracery is set into the case using wooden pegs in drilled holes around the edge of each case. The covering planks on the reverse are both in two sections. There are some losses to the edges of the labels.
"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 differences in the tracery and parapets suggests that the panels were placed on different levels of the altar or were taken from different altars made in the same workshop.