North Italian, 15th Century

Cristo morto with head bowed to the left, feet pierced by a single nail, arms carved separately 

Overall the condition of the corpus is very good with minor wear consistent with age. The arms have been carved separately, but appear to be original. There has probably been some restoration to the fingers of both hands. The first two fingers of the left hand are slightly loose. The toes of the left foot may have been restored. Overall the painted surface is evenly distressed as visible in the catalogue photograph. The paint at the hair, crown and wound may have been refreshed.
"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."

Carved throughout Italy to evoke pious contemplation, medieval and renaissance crucifixes varied in quality from the primitivism of provincial craftsman to the sophistication of artistic centres such as Tuscany. Whilst the present corpus contains elements of a more provincial stylisation found in the carved swirls of blood at Christ's side and a certain rigidity in the posture, it also reveals the influence of a more sophisticated realism. This can be seen in the details of the pierced and wrinkled skin at Christ's feet and in the carving of the figure with its raised collar bone and sharply defined hips. A comparison can be made with a corpus by Antonio Pardini in the church of the Madonna del Suffragio, Camaiore dating to around 1400. The soft folds of the perizonium, with draped ends at either side, are comparable and the sensitive characterisation of the face with its straight nose, forked beard and parted lips resonates with the treatment of the same features in the present corpus.

Whilst it is unlikely that Pardini's work directly influenced the carver of the present corpus, it is evident that he was working within the sphere of Tuscan influence, and was able to interpret and incorporate the accomplished treatment into his work.

RELATED LITERATURE
A. Frosini, Scultura lignea dipinta nella Toscana medievale (San Casciano, 2005) figs. 24, 25