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

together with a copy of Bassegoda (ed.), op.cit.

Jaume Espona Brunet, Barcelona, until circa 1958

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

Given the fragile material and age of the group, the condition is good overall. There is minor dirt and wear to the surface consistent with age. Christ's head is reattached and there are restorations to His proper right shoulder. There are number of further restorations, including to: the area around the Virgin's neck and shoulders; the Virgin's nose; Christ's upper proper right leg and ankle; the left corner of the base. There is a chip to the front of the base near Christ's feet. There are stable restored fissures to the drapery at the Virgin's proper left arm and to the lower right corner of the base at the back. There are small losses to Christ's crown of thorns. Two holes for mounting have been drilled to the underside.
"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 sculptor known as the Master of Rimini is so called for an impressive alabaster Crucifixion from the church of Santa Maria della Grazie in Rimini, now in the Liebighaus, Frankfurt. A number of other works are attributed to the highly skilled sculptor, including the Madonna dell'Acqua in the Tempio Malatestiano in Rimini. The Master of Rimini's workshop is now thought to have been located in the Upper Rhenish and Mosan border area. The geographical spread of sculptures from the workshop suggests it was producing works of art for export.

Besides the Madonna dell'Acqua, a number of other Pietà's from the circle of the master can be found in public collections such as the Victoria and Albert Museum (A28.1960) and the Liebighaus. Each is characterised by rhythmic folds of the drapery, sharp details and thin fingers. The groups from the workshop convey the pathos associated with the subject both through the expressions of the figures and the jewel-like quality of the carving. A further version was sold as part of the Cyril Humphris collection at Sotheby's New York on 10 January 1995, lot 6, for $230,000.

Jaume Espona Brunet came from a family of industrialists and started to collect as a young man. He amassed a varied collection that rated among the most magnificent in Spain. Upon his death large parts of the collection, together with a substantial part of his fortune, were donated to the Catalan museums Brunet supported all his life.

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.