Italian, Tuscan, 14th century

originally from a corpus

As can be seen in the catalogue photograph, the wood is dry. There has been worm damage which is now stable. Traces of gesso. Rectangular arm sockets on the shoulders where the arms would have been slotted in. Fine vertical fissures as is evident, with the one at mid breast point opening to an approximately four millimeter gap. The back of the head looks weathered, possible due to exposure to moisture.
"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 present fragmentary section from a corpus can be compared stylistically with the work of Giovanni Pisano and his followers. His influence is particularly evident in the treatment of the eyes which compares well to his wood corpus in the Opera del Duomo, Siena, illustrated by Lisner, as well as the ivory fragmentary corpus in the Victoria and Albert Museum, attributed to his workshop.

RELATED LITERATURE
M. Lisner, Holzkruzifixe in Florenz und in der Toskana (Munich, 1970) figs. 9-13, 28