Italia, Verona, nella maniera di Rigino di Enrico

Rilievo della Crocifissione in arenaria

several stable, repaired breaks, overall small losses and restorations. surface abrasions. traces of polychrome
"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."

BIBLIOGRAFIA DI RIFERIMENTO
Gian Lorenzo Mellini, Scultura veronesi del Trecento, Milano, 1971, fig. 76.

Confronta questo rilievo con quello in pietra con la Crocifissione attribuita a Rigino di Enrico e alla sua bottega conservato nel Museo di Castelvecchio a Verona e illustrato da Mellini e con la figura di San Giovanni (op. cit. Tav. 67) nella chiesa del Cimitero a Verona, con la medesima bocca aperta, spesse sopracciglia e volto segnato, e con lo stesso movimento del bordo delle vesti.

Compare with a stone relief  of the crucifixion attributed to Rigino di Enrico and his workshop in the Museo di Castelvecchio, Verona and illustrated by Mellini. In addition, a very similar figure of St. John (pl. 67, op. cit.) is in the Chiesa del Cimitero, Verona with the same broad mouth, furrowed brow and wrinkled face as well as the distinctive stippled border design of the drapery.