Italian, probably Tuscany, late 14th century

Sotheby's London, 8 July 1976, lot 43

Overall the condition of the wood is good with dirt and wear to the surface consistent with age. Both hands are reattached with slightly visible open joints and glue residues. There are various losses to the polychromy, especially to the chest and drapery at the bottom. There is non-active worming, especially to the base on the proper left side and the back. There is some stable splitting consistent with the material, including to the reverse and to the base at the front. There are two separate sections of wood covering the back. They are kept in place with old iron nails and the joins are partially covered with linen. Two boards were added to the underside for stabilisation. There is a loss to the tip of the rear pinnacle of the hat.
"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."

Decorated with well-presented gilding and polychromy, the present work stylistically compares with statues from the Tuscan workshops of the late fourteenth century. There is fine punching on the drapery with delicate floral motifs featuring throughout. Small flowers are also carved into the gilt bands of his mitre. The bishop’s solid, frontal pose, sincere expression and incline of the head are found throughout Tuscan works of this time. San Giacomo in the chiesa di Sant’Andrea in Ceserana from the end of the fourteenth century, illustrated in Frosini (op. cit., pl. 23a), is a good example. Both this figure and the present bishop share earnest expressions and thrust their lower bodies forward, while the drapery of their copes weighs down in heavy and enveloping folds. There is a distinctive ‘V’ shape to the folds of San Giacomo, correlating with those of the present saint and found in other Tuscan works as illustrated by Frosini (op. cit., pl. 6-7 and 23b). Though more opulently decorated, the facial shape of a Venetian sculpture of a bishop from the fifteenth century, in the cathedral of San Pietro (inv. no. 243) is similar to his elongated face and gesture of showing two fingers in blessing. This motif is found in works from across Italy, such as the Tuscan Angelo annunciante in the Museo d’Arte Sacra, Montalcino, also illustrated by Frosini (op. cit., pl. 5a).

A very similar sculpture, though missing both arms, attributed to fourteenth century Tuscany, was sold in Sotheby's Florence, in the 2009 sale of Florentine antique dealer Salvatore Romano's collection (lot 27).

RELATED LITERATURE
A. Frosini, Scultura lignea dipinta nella Toscana Medievale, San Casciano, 2005, pp. 69-71 and 87; E. N. Lusanna and L. Faedo, Il Museo Bardini a Firenze. Le sculture, Milan, 1986, pl. 280; C. Fratini (ed.), All’ombra di sant’Ercolano. Sculture lignee tra Medioevo e Rinascimento nella diocese di Perugia, exh. cat. Museo del Capitolo di San Lorenzo, Perugia, 2009, p. 91