Venetian School, 14th century

The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 336 West 37th Street, Suite 830, New York, NY 10018, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's. The generally good condition of this picture, particularly given the painting's early date, is obscured by discolored retouching, aged varnish and dirt. In the upper section, Saint Ludovic is very well preserved, with only minor pinpoint flake losses. In the entombment scene, heavyhanded retouching in many of the faces has discolored markedly and seems to conceal intact original features. The details in the clothing have only small losses. Select contours in the garments have been reinforced, probably to counteract the varnish and dirt that visually reduce the contrast of the imagery. In the rocky outcropping to the left of the angels, an irregularly shaped loss has been retouched but not filled to level. Retouching is also found in the two figures grasping Christ's white shroud. Unrestored losses are visible in the black area of the tomb, with a few smaller ones scattered in the white portion. Much of the gold ground is worn; visually lifting the staining in this area would help bring this area back into balance. The engaged frame appears stable and structurally sound, with losses of gesso and gilding throughout. The painted surface on the back shows wear consistent with the age and composition of the panel. The wood support is planar. Considerable aesthetic improvement could be achieved with careful cleaning and restoration.
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This Entombment would originally have formed part of a polytych and traces of hinges  on both edges of the panel suggest it would have had wings at either side.  The original placement  of these hinges, along the recto edge on the right side and along the verso edge at left, indicates that the polyptych would have folded in a concertina fashion, the right wing closing across the face of this panel and the left wing closing across the reverse. 

Mauro Minardi considers the painting to be of Venetian origin, noting that its Byzantine style is reminiscent of paintings by Paolo Veneziano, by whom this artist was clearly influenced.¹   Minardi indicates that the inclusion of Saint Ludovic in the upper section, as the saint is closely associated with the Franciscan order, suggests the polyptych may have been a Franciscan commission.  It has also been proposed that the Entombment was painted by a Greek artist and that the panel might be of Cretan origin, dating slightly later, to the early 15^th century.

 

1.  Oral communication, following firsthand inspection.