School of the Veneto, second half of the 14th century

The catalogue illustration is representative. The thick panel support is stable and almost completely flat. Old inactive wood worm markes can be made out to the reverse. Three small holes can be made out on the paint surface lower right. The paint surface appears clean and secure, with very fine craquelure. Inspection under UV light reveals strengthenings to the outlines of the cross upper centre, the sun upper left, the outlines of Christ, his arms, hands and his hair and to the outlines of the elments of the Passion lower centre. Retouchings have been applied to the blue band of the tomb lower centre. Inspection under UV light to the scribe upper centre is inconlusive sue to the glossy varnish. The integral frame is elaborately carved but some of its gilding has worn off. There is a loss upper left as well as some smaller knocks along the edges..
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The painting probably originates from the Veneto, as the original carved and gilt wood integral frame would also suggest. The painting was formerly attributed to the Maestro di Piove di Sacco, an artist active in the mid-14th century influenced by Paolo Veneziano, whose eponymous work is the polyptych in the Duomo at Piove di Sacco (Padua). Dott. Stefano G. Casu has more recently noted that the painting also demonstrates Emilian influences; in particular that of Giovanni da Bologna, an Emilian artist who was active in the Veneto between 1360 and 1390.