Within Bonvicino's oeuvre, the present sculpture finds close stylistic parallels in a Cristo Passo in the church of San Carlo Borromeo in Mestre (Castri, op. cit., pl. 43) and a Crucified Christ in the Museo del Canton Ticino, Lugano (ibid., pl. 44). As with the present Corpus, the example in Lugano displays a slender torso and rich, cascading drapery on the hips, and features comparable to wood sculpture from of the International Gothic style which Markham Schulz associates with Bonvicino's later oeuvre (op. cit.).
A. Markham Schulz, 'Antonio Bonvicino and Venetian Crucifixes of the Early Quattrocento', in Mitteilungen des Kunsthistorischen Institutes in Florenz, vol. 48, no. 3, 2004, pp. 293-332
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