Sold Without Reserve | MATTEO DI PACINO | CHRIST AS MAN OF SORROWS (VIR DOLORUM) WITH INSTRUMENTS OF THE PASSION
Sold Without Reserve | MATTEO DI PACINO | CHRIST AS MAN OF SORROWS (VIR DOLORUM) WITH INSTRUMENTS OF THE PASSION
Sold Without Reserve | MATTEO DI PACINO | CHRIST AS MAN OF SORROWS (VIR DOLORUM) WITH INSTRUMENTS OF THE PASSION
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Sold Without Reserve | MATTEO DI PACINO | CHRIST AS MAN OF SORROWS (VIR DOLORUM) WITH INSTRUMENTS OF THE PASSION

Estimate: 100,000 - 150,000 USD

Sold Without Reserve | MATTEO DI PACINO | CHRIST AS MAN OF SORROWS (VIR DOLORUM) WITH INSTRUMENTS OF THE PASSION

Estimate: 100,000 - 150,000 USD

Lot Sold:62,500USD

Lot Details

Description

Property from a Distinguished Private Collection, Sold Without Reserve

MATTEO DI PACINO

(Florence, documented 1359 - 1374)

CHRIST AS MAN OF SORROWS (VIR DOLORUM) WITH INSTRUMENTS OF THE PASSION



tempera and gold ground on panel

6⅜ by 8⅛ in.; 16.2 by 20.6 cm.

Condition Report

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.


This small panel appears to have fairly recently undergone conservation treatment, with a highly skilled restoration and a clear, evenly glossy varnish. A few small areas of loss (restored) are found in the middle of Christ's torso and right arm and along the edge of the left arm and top of the head, while an area encompassing bottom half of the hands, through the hips and down to the bottom of the image area has been reconstructed. Tiny touches of retouching are found elsewhere throughout the painting. Because the painting would have been taken from a larger construction, it is unlikely the surrounding geometric designs remain in pristine condition, but even under examination with ultraviolet light it is unclear what may be restoration. The gold ground appears to be reinforced with new gold leaf. The horizontally-grained panel displays a vertical convex warp and is in stable condition. The painting has no need of conservation intervention and may be displayed in its current state.


"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."

Cataloguing

Provenance

Private collection, Italy;

With Moretti Fine Art, London, by 2007;

With Jean-François Heim, Paris, by 2010;

With Moretti Fine Art, London;

From whom acquired, December 2012. 

Literature

S. Chiodo, A Corpus of Florentine Painting: Painters in Florence after the 'Black Death.' The Master of the Misericordia and Matteo di Pacino, section IV, volume IX, Miklos Boskovits, ed., Florence 2011, pp. 480-481, reproduced plate LXXIX.

Catalogue Note

This small panel was painted in the early-1370s by the Florentine artist Matteo di Pacino, formerly known as the Master of the Rinuccini Chapel, whose distinct artistic personality arose from the influences of Bernardo Daddi and the Cione brothers [1].  The horizontal format of the composition and the matching wood grain suggest this panel once formed part of a predella for a polyptych. Another fragment of this predella includes a Saint James the Major; the two works share similar dimensions, shape, and decorative punch work found in the band around the tondo [2].  



1. For a recent detailed discussion of the life of Matteo di Pacino, see Chiodo, op. cit., pp. 335-399.

2. Tempera and gold ground on panel, 16 by 20 cm, formerly in a private collection and last appearing at auction in Milan on 1-9 March 1967, lot 242. See ibid., pp. 482-483, reproduced plate LXXIX. 

Master Paintings
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