English, Nottingham, 15th century

with an old collection label to the reverse printed: D D U R N [?] and numbered: 36 in ink

Monsignor Alexandre Compans (d. 1926), Papal Chamberlain to Pope Pius IX and Pope Leo XIII, France;
by family descent to the present owners

Overall the condition of the alabaster is good, with dirt and wear to the surface consistent with age. There is dirt to the surface throughout. The proper right hand of God the Father is lost, and there are some further losses, notably to the crown, to the head of the Dove, to the body of the Crucified Christ, and to the arms of the cross. There was also a now-lost attribute on the proper right shoulder at the front. God the Father's head has been reattached, with some restoration visible at the back, and a section of the hair on the proper left side of the head has also been reattached. There are remnants of gilding and polychromy throughout, with some flaking in areas. There are several chips to the high points and edges, in particular to God the Father's nose, and to the bottom edge. There are two small holes with pieces of metal at the back.
"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."

Few sculptures embody the solemn gravity of the Trinity like this beautiful example of Nottingham alabaster carving. The Father’s placid expression instils a quiet power into the scene, whilst the Corpus, which bears the wear of many centuries, recalls cadaverous images from English medieval tomb sculpture.

English alabasters were exported throughout Europe, but nowhere more so than France, with its historic ties to Britain, which were finally severed when the forces of Charles VII finally drove his Plantagenet foes out of Normandy and Gascony in the 1440s and 1450s. Despite this, the links between the two countries remained strong, and it was to France that three ships laden with alabaster images were sent in 1550, following the zealous iconoclastic campaigns launched by Edward VI’s protestant ministers. The present alabaster has probably survived because it was either made for export in the 15^th century or subsequently sold in the years immediately following the Reformation. The composition follows Francis Cheetham’s Trinity – Type A, which depicts God the Father holding the Crucified Christ in the Throne of Mercy, with the Holy Spirit in the form of a dove perched upon the Cross. Cheetham further categorises Nottingham Trinity compositions as: Type B, in which God holds the the Souls of the Blessed; Type C, where the Trinity is flanked by attendants; and Type D, in which the Three are carved separately.

Whilst the Trinity was one of the most popular subjects employed by English medieval alabaster carvers, relatively few have appeared on the market in recent years, and fewer still which are as moving as the present group. The present relief emerges onto the market after being in a distinguished French private collection for almost a century.

RELATED LITERATURE
F. Cheetham, Alabaster Images of Medieval England, Woodbridge, 2003, pp. 147-153