Circle of the Master of Rimini (active first half of the 15th century) Northern French or South Netherlandish, circa 1430-50

There is some natural veining to the alabaster. Some veins, particularly the one at the proper left side of the head of the Virgin, have been filled. The right arm and right leg of Christ are missing. The left hand of the Virgin is lost and there are losses to the back of the alabaster behind Christ's feet.
"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 15^th century. He takes his name from the Calvary altarpiece made for San Maria delle Grazie, Rimini circa 1430 now in the collection of the Liebieghaus, Frankfurt. He worked exclusively in alabaster and his distinctive style has enabled a number of works to be attributed to his workshop. In comparison to the paintings of Rogier van der Weyden and the Master of Flémalle, the workshop has been located to Northern France or the Southern Netherlands. The workshop carved for export, disseminating the style across Europe.

There are several versions of the 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 attributed to the circle of the Master of Rimini by Legner. The present version, which closely echoes the composition of the Victoria and Albert Museum version, but differs in the simplified, less crumpled drapery and the description of the faces, can also be attributed to the circle of the Master of Rimini.

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