Scuola dell'Italia Meridionale, circa 1415

Christie's Londra, 10 Luglio 1998, lotto 52 (per £ 23.000).

Monte Carlo, Galerie Adriano Ribolzi, Paintings and Miniatures from the XIVth to the XVIIIth Centuries, 1990, cat. n. 9.

Paintings and Miniatures from the XIVth to the XVIIIth Centuries, catalogo della mostra, Monte Carlo, Galerie Adriano Ribolzi, 1990, pp. 32-33, cat. n. 9, illustrato.

The photograph in the catalogue is representative of this 15th-century large crucifix, though the reds and greens are less bright in the original. The panel supports appear stable and consolidated, with a few old inactive worm holes. To the reverse both the horizontal and vertical axes are lined by two supporting planks. With the naked eye some small paint losses can be made out (as visible in the photograph) as well as some extensive areas of repaint. The latter are concentrated in the green cross rather then the flesh tones. The punchwork has become worn in many areas, particularly to the right of the cross. Similarly the detail of Christ's halo has been lost. However, where the punchwork is still visible, for example around the angel in the upper section of the cross and to the left of Christ, the precision and refined nature of the original can still be appreciated. Inspection under UV light reveals a series of scattered retouchings, as would be expected for a 15th-century work.
"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."

Prima che Angelo Tartuferi suggerisse un autore originario del sud della penisola operante negli Abruzzi o in Puglia in occasione della mostra Paintings and Miniatures from the XIVth to the XVIIIth Centuries tenuta a Monte Carlo nel 1990, il crocefisso era stato attribuito da Roberto Longhi a un ignoto artista dell'Italia centrale e da Carlo Volpe al pittore napoletano Roberto d'Oderisio. L'insolita presenza dell'arcangelo Michele in cima alla croce al posto della figura del Redentore indica un'influenza veneziana, che rimanda, come nota Tartuferi, all'influenza dei modelli veneziani noti lungo tutta la costa adriatica. La provenienza meridionale è inoltre confermata dalle affinità che l'opera presenta nell'uso del colore verde e nell'anatomia del Cristo con il crocefisso di un anonimo autore siciliano, conservato al Museo Regionale di Messina, opera risalente alla prima metà del Quattrocento (vedi M. C. Di Natale, Le Croci dipinte in Sicilia: l'area occidentale dal XIV al XVI secolo, Palermo 1992, p. 25, fig. 33).