The Crucifixion, on a leaf from a Book of Hours, illuminated manuscript on vellum

a single leaf, 114mm. by 76 mm., with a large gold-framed arch-topped miniature of the Crucifixion, 69mm. by 40mm., with Christ hanging dead and profusely bleeding, his eyes closed and head tilted to the left, between the Virgin Mary and Joseph of Arimathea, she with arms crossed across her chest being consoled by a follower, and he standing before a group of onlookers and soldiers, all before a rolling hillside with realistic trees in the background heightened with tiny dabs of gold, above a 3-line initial 'D' (opening 'Deus in adiutorium ...' that opening the Office for the Virgin for None), with full border of acanthus-leaf sprays, realistic foliage, fruit, bezants and a bird in flight; 12 lines of text on verso with liquid gold initials on coloured grounds with line fillers in same and a decorative border panel, some thumbing and discolouration to outer edge of border, else excellent condition, in card mount

Condition is described in the main body of the cataloguing where appropriate.
"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 work is by a follower of the Coëtivy Master, who as Avril & Renaud state was "the most important artist practisng in Paris in the third quarter of the century, from about 1450 to 1485" (Les Manuscrits à Peintures, p. 58-62). The artist here follows his master in the use of great individual detail and expression in the faces of the background characters. While Christ, the Virgin and Joseph of Arimathea are stock characters in the scene with somewhat blank expressions and stylised poses, the viewer's eye is drawn to the figures around them, in particular the wide-faced man with the down turned mouth, who stares away from the scene of the Crucifixion.