Embriachi Workshop Italian, Venice, late 14th/ early 15th century

Overall the condition of the triptych is good. There is some wear and dirt to the surface consistent with age. There are a few minor chips and losses including to the top of the pinnacle and to the right of the Virgin's head. There are a few minor fissures including to the central panel at the top of the left spear, through the corss and on the left wing to the back of the St. John the Baptist's shoulder and to the left of the right shoulder. A small section was replaced below the right arm of Christ. The hinges probably later replacements slightly wavered on the edges. The reverse has a hole for mounting, minor woodwarming, some stable splitting and traces of an adhesive.
"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 present triptych would have been used as a private portable devotional altarpiece. The main panel with the Crucifixion and the two flanking panels with standard-bearers are similar in design to those from a larger triptych originally in Santa Maria Novella, and housed in the Bargello (inv. no. 5A). Further analagous triptychs are at Avignon Cathedral and in the Staatliche Museen zu Berlin (inv. no. F. 2403). Such altarpieces are reminiscent of their larger public counterparts, such as that in the Certosa di Pavia, the Retable de Poissy in the Louvre (inv. no. MR 379) and the Cluny Triptych in the Metropolitan Museum of Art (inv. no. 17.190.489).

RELATED LITERATURE
M. Tomasi, La Bottega degli Embriachi, Florence, 2001, pp. 21-5, no. 3; M. Tomasi, Monumenti d'avorio, Pisa, 2010, figs. 29-30