SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI | CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING
Sold without Reserve
SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI | CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING
Lot Closed
SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI | CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING
SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI | CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING
SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI | CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING
SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI | CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING
SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI | CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING
501

SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI | CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING

Estimate: 20,000 - 30,000 USD

Sold without Reserve

501

502

SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI | CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING

SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI | CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING

Estimate: 20,000 - 30,000 USD
Lot sold:37,500USD
(64 bids, reserve met)

Description

Sold without Reserve

SIMONE DI FILIPPO, CALLED SIMONE DEI CROCIFISSI

Active Bolona c. 1354 - 1399

CRUCIFIXION WITH THE VIRGIN MARY, MARY MAGDALENE, AND ST. JOHN THE EVANGELIST MOURNING


tempera on panel, gold ground, with a shaped top

panel: 18 by 13⅝ in.; 45.7 by 34.6 cm.

framed: 21 by 15½ in.; 53.3 by 39.4 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 picture is in sound condition overall, with no need for intervention. The painting appears to have undergone more than one campaign of restoration, not all of which is immediately obvious under ultraviolet illumination due to the fluorescence of the varnish layers. Retouching addresses losses scattered throughout the picture including much of the Virgin Mary's mantle, and reinforces contours and shading. Wear in the gold ground has been integrated with retouching to match the red-orange bole originally used to adhere the gold leaf. The vertically grained panel displays a moderate lateral convex warp. A spring strainer secondary support — a far superior replacement for an earlier cradle — has been attached to the reverse for stabilization and handling. This painting 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."

Provenance

Ettore Viancini collection, Venice;

Private collection, London.



Literature

G. Del Monaco, The Middle Ages and Early Renaissance, Paintings and Sculptures from the Carlo De Carlo Collection and other Provenance, Florence 2011, pp. 54-57, reproduced in color p. 55;

D. Benati (ed.), Simone e Jacopo: due pittori bolognesi al tramonto del Medioevo, Ferrara 2012, p. 46;

G. Del Monaco in V. Sgarbi, Da Cimabue a Morandi: Felsina Pittrice, exhibition catalogue, Bologna 2015, p. 64;

G. Del Monaco, Simone di Filippo "dei Crocifissi": pittura e devozione del secondo Trecento Bolognese, Padua 2018, p. 188, no. 56, reproduced plate CV.

Catalogue note

From the early 1360s until the time of his death in 1399, Simone dei Crocifissi was one of the leading artists of Bologna. He was likely a pupil of his brother-in-law, Dalmasio di Jacopo Scannabecchi. His name is due to the sequence of four major crucifixes he supplied for Bolognese churches in about 1360-1365.