Ugolino di Nerio, circa 1320

Anonymous sale, London, Christie's, 8 May 1987, lot 162 (as Sienese School, early 14th century);
Private Collection, London.

G. Sarti, Trente-trois primitifs italiens : de 1310 à 1500, du Sacré au profane, Paris 1998, pp. 36-41, cat. no. 3, reproduced p. 37;
J. Cannon, "Dominic alter Christus? Representations of the Founder in and after the Arca di San Domenico", in Christ among the medieval Dominicans : representations of Christ in the texts and images of the Order of Preachers, indiana 1998, pp. 28, 41, note 13, reproduced no. 9.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. The condition of the painted areas in this work, i.e. the ground, the figures and the crucifix, is in remarkable condition. Under close magnification it is hard to positively identify any retouches to these areas except for a few spots in the small kneeling figure in the foreground. The gilding to the background is obviously worn but the gilding that is currently visible may indeed be original, although the engaged frame itself may have received slight re-gilding. The condition of this remarkable painting is impressive and it should be hung as is.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

This moving depiction of the Crucifixion was most likely the central image in a small, portable triptyph intended for the private devotions of its owner.  Such small-scale devotional works were commonly produced at the time, especially among the artists of Duccio's circle. That the tooling of the figures' halos and the work's elegant border were done a mano libera (rather than punched) suggests a terminus ante quem of around 1320 for this work and places it within the period of Ugolino's documented activity in Siena.

A proponent of Duccio's style, Ugolino may even have been that master's pupil.  Surviving documents place him in Siena from 1317 to 1327, but his only known autograph work that has come down to us today was commissioned for the high altar of Santa Croce in Florence, circa 1325.  Although this polyptych was dismantled in the 16^th century and its panels dispersed, the extant panels reveal not only the influence of Duccio, but also Ugolino's own sophisticated, delicate style.  In his Vite, Vasari also attributes another Florentine altarpiece, this one from the high altar of Santa Maria Novella, to Ugolino.  That a Sienese artist would be given two such large commissions for two prestigious churches in Florence speaks to the esteem in which Ugolino must have been held by his contemporaries and hints at what must have been an active workshop and a prolific output. 

The present panel, iconic rather than narrative in nature, depicts the crucified Christ being mourned by the Virgin Mary, Saint John the Evangelist and Mary Magdelene, who is seen embracing the base of the cross.  Also shown are Saint John the Baptist and Saint Dominic and a small, orant figure that represents the work's Dominican patron.  Given the presence of Saint John the Baptist--the patron saint of Florence--Saint Dominic and the Dominican patron, it is possible that this work may have been commissioned for the convent of Santa Maria Novella, thus connecting it to the large altarpiece Ugolino was commissioned to complete for their church.  In fact, Vasari states that Ugolino fulfilled many commissions for this convent, making it likely that this could be one of them.¹

Ugolino's figures are elongated and graceful, composed of sinuous lines that render them fully plastic and believably three-dimensional.  Their richly colored robes drape around them subtly in realistic, fluid folds.  The delicate sgrafitto of the figures' halos, and the more elaborate quatrefoil border--also done free-hand--reveal the artist's intense interest in, and mastery of, design.  Of particular interest in comparison to the present work is Ugolino's Crucifixion with Saint Francis (Siena, Pinacoteca Nazionale, inv. no. 34).  Although almost twice as large as the present work, the Siena panel has the same long, graceful figures and realistic drapery.  The pose and musculature of the crucified Christ is also remarkably similar in the two panels, as is the depiction of the rocky, barren Golgotha.  The present work is an important addition to the artist's oeuvre and demonstrates the subtle sophistication of this quatrocento master.

We are grateful to the late Professor Luciano Bellosi for confirming the attribution to Ugolino di Nerio based on photographs.

1.  G. Vasari, Vite, 1568, i, p. 454.