Circle of the Master of Rimini (active first half 15th century), South Netherlandish, circa 1430-1450

Overall the condition of the alabaster is good. There is wear and some sirt to the surface conssitent iwth age. There are stable hairline fissures and veining visible on the surface consistent with material. Christ is missing part of his proper right arm and leg and the scrollwork to the right side of the seat is lost. Mary is missing her proper right hand. The top of the head of the Virgin was probably reattached. There are two holes to the underside for mounting.
"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 Master of Rimini was an anonymous sculptor working in the early 15th century. He took his name from the Calvary altarpiece made for San Maria delle Grazie, Rimini, circa 1430, now in the collection of the Liebieghaus, Frankfurt. Working exclusively in alabaster; his distinctive style enabled a number of works to be attributed to his workshop. Because of close relation of the carvings to the paintings of Rogier van der Weyden and the Master of Flémalle, the workshop was probably located in the Southern Netherlands or Northern France. The dissemination of works throughout Europe suggests that the Rimini Master's workshop carved for export.

There are several versions of this style of Pièta, including one in the Victoria and Albert Museum, which Legner attributes to the hand of the master and his workshop. Two other versions from Lorch am Rhein, in the collection of the Stadelsches Kunstinstitut und Stadtische Galerie, Frankfurt, and at the church of San Francesco, Rimini are also attributed to the circle of the Master of Rimini by Legner. The present version, which closely follows the composition of the Victoria and Albert Museum version, differs in the simplified, less crumpled drapery and the rendering of the faces.

RELATED LITERATURE
I. Futterer, 'Ein Beitrag zum Werk des Riminimeisters', Zs. f. bild. K. ,vol. 60, 1926-27, pp. 293-6; A. Legner, 'Der Alabasteraltar aus Rimini', Städel-Jahrbuch. Neue Folge, vol. 2, 1969, pp. 101-68