Circle of Gregorio di Lorenzo (1436-1504) Italian, Florence, circa 1500

numbered: M3849 and N6260 in black ink on the reverse

Overall the condition of the marble is good with minor dirt and wear to the surface consistent with age. There is a large loss to the proper left corner of the base, and the proper left thumb is lost. There are some smaller losses around the base. There are some small losses to the crown of thorns; a small chip to the end of the nose; and a few small chips to the drapery at the proper left shoulder and at the bottom. There is veining to the marble throughout consistent with the material. There are slightly open veins at the proper right thigh and at the proper left forearm. There are various dirt residues including to the crown of thorns. There is some brownish colouration to the marble in areas, including to the hands, feet, abdomen and forehead. There is a hole to the underside with a small channel running to the edge. There are two old inventory numbers inscribed in black paint to the back of the base: M3849 / N6260.
"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."

In his monograph on Gregorio di Lorenzo Bellandi illustrates a number of reliefs of Christ of which the facial type and dolorous expression compare well to the present statuette. (op.cit., figs. 186, 198 and 199 and no. III. 3. 14) Note the sense of realism, the enlarged eyes and heavy eyelids as well as the thin drapery and seemingly wet strands of hair. However, Di Lorenzo does not seem to have been responsible for carving any full-length statuettes and never treated the hands so thoroughly and naturalistically as was done here.

RELATED LITERATURE
A. Bellandi, Gregorio di Lorenzo. Il maestro delle Madonne di marmo, Morbio Inferiore, 2010, pp. 209, 223, 361-368 and 407