Attributed to the Master of Rimini (active second quarter 15th century) South Netherlandish Or Northern French, circa 1430-1440

Jaume Espona Brunet collection, Barcelona, until circa 1958

B. Bassegoda (ed.), Colleccionistes, collecions i museus. Episodis de la història del patrimoni artístic de Catalunya, Barcelona, pp. 242-4, fig. 19

Overall the condition of the alabaster is good. There is minor wear and dirt consistent with age and material. There are some small areas of restauration: the Virgin's nose and along the neck and shoulders; Christ's nose, the proper right shoulder at the back and the proper upper right leg and right ankle. There are old patches to small stable fissures at the Virgin's proper left upper arm and the back of the base. There is a chip to the lower edge of the group near Christ's feet and there are a few further, minor, chips. There are two drilled holes on the underside from an old mount.
"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 most important sculptor of alabaster sculpture of the late Gothic period known as 'Master of Rimini' is named after the large alabaster altar, which was originally in the church of Santa Maria delle Grazie in Rimini (Frankfurt am Main, Liebieghaus). Active in Northern France or the Southern Netherlands, the artist and his workshop sent individual sculptures and sculptural ensembles to patrons all over Europe, as evidenced by his eponymous work. Particularly sought after were his small groups of the Madonna with the Dead Christ, which could be used for both private devotion and to adorn altars in chapels. The attribution of this delicately and intricately carved group to the master is based on close comparison with other extant pieces, most notably the sculptures of the same subject attributed to the master, such as the Lorch Pietà, the Madonna dell'acqua in the Tempio Malatestiano, Rimini, and the one in the Victoria and Albert Museum (no. A.28-1960).

RELATED LITERATURE
I. Futterer, 'Ein Beitrag zum Werk des Riminimeisters,' Zeitschrift für bildende Kunst, LX, 1926-1927, pp. 293-6; A. Legner, 'Der Alabasteraltar aus Rimini,' Städel-Jahrbuch, n. s., II, 1969, pp. 101-68; M. Maek-Gérard, Liebieghaus - Museum Alter Plastik. Nachantike grossplastische Bildwerke, Melsungen, 1981, nos. 71-89, II, pp. 148-74; N. Jopek, Studien zur deutschen Alabasterplastik des 15. Jahrhunderts, Worms am Rhein, 1988; P. Williamson, European Sculpture at the Victoria and Albert Museum, London, 1996, p. 64; Il potere, le arti, la guerra: Lo splendore dei Malatesta, exh. cat., Rimini, 2001, no. 58, pp. 188-9.