View full screen - View 1 of Lot 14. The Crucifixion 《耶穌被釘十字架》.

Master of Charles of Durazzo

The Crucifixion 《耶穌被釘十字架》

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400,000 - 600,000 GBP

Master of Charles of Durazzo

Master of Charles of Durazzo

The Crucifixion 《耶穌被釘十字架》

The Crucifixion 《耶穌被釘十字架》


400,000 - 600,000 GBP

Lot sold:



Master of Charles of Durazzo

Florence act. late 14th - early 15th century

The Crucifixion

tempera on panel, gold ground, shaped top

58.7 x 29 cm.; 23⅛x 11⅜in.





58.7 x 29 公分;23 ⅛ x 11 ⅜ 英寸

The following condition report is provided by The Pietro Edwards Society for Art Conservation who are external specialists and not an employee of Sotheby's:


This painting is in uncommonly good condition for an Early Italian work. The paint film is in excellent state and shows very few losses, mostly minute flaking to upper paint layers and at the edges of cracks. Slight rubbing to the glazes and craquelure edges has occurred throughout. Retouching is minimal, evident in the tips of the spears, the pink-clad solder at left, the head of the brown horse at right, and the rightmost man inspecting the grave cloth. Negligible points of mechanical damage are unretouched. There is some abrasion to the mordant gilt decoration of the garments, and some blackening to the silvered helmets.


The gilding and punchwork are likewise well preserved. These display only localized passages of wear, notably at the lower edge, in a dripmark at the right side, and at the edges of the craquelure. Losses to the ground and gilding have occurred at the perimeter, particularly at the bottom, as well as in a line to the right of Christ’s hip and at the horizon to the left of the cross. The varnish, which covers the painted and gilded areas, is clear, glossy, and even.


The painting appears to have been the central panel of a triptych, and has three holes on either edge where hinges would have attached the wings. The support is otherwise essentially intact. The wood plank is in plane and appears stable, although some cracking has occurred along the framing moldings applied to the panel face. A very few old wormholes are visible. The reverse of the panel has a red coating, which shows some wear and old damage, putty fills, and broad retouching. The painting requires no conservation and can be displayed in its current state.


Adolphe Stoclet (1871–1949), Brussels (as Bernardo Daddi);

By descent to his daughter Raymonde Feron-Stoclet (1897–1963), Brussels;

Private collection, Italy, after 1998;

By family descent;

From whom acquired by the present owner in 2014.

J.P. van Goidsenhoven, Adolphe Stoclet Collection (part I). Selection of the Works Belonging to Madame Feron-Stoclet, Brussels 1956, pp. 48–53, reproduced in colour, details on pp. 51 and 53 (as Bernardo Daddi);

M. Boskovits, ‘Il Maestro di Incisa Scapaccino e alcuni problemi di pittura tardogotica in Italia’, in Paragone, XLII, 1991, 501, p. 46 n. 14;

E. Fahy, ‘Florence and Naples: a cassone panel in the Metropolitan Museum of Art’, in Hommage à Michel Laclotte, P. Rosenberg (ed.), Paris 1994, pp. 242–43 n. 26, republished in De Marchi and Sambo (eds) 2020 (as the Master of Charles of Durazzo);

A. Tartuferi, ‘I dipinti («... anche questo è suo!»)’, in Un tesoro rivelato. Capolavori dalla collezione Carlo De Carlo, exh. cat., M. Scalini and A. Tartuferi (eds), Galleria dell’Accademia, Florence, 6–31 March 2001, p. 37, reproduced on p. 36, fig. 6 (as Florentine painter, c. 1370 [Agnolo Gaddi?]);

A. Tartuferi, ‘I pittori dell’oratorio: il Maestro di Barberino e Pietro Nelli, Spinello di Luca e Agnolo Gaddi’, in L’oratorio di Santa Caterina all’Antella e i suoi pittori, exh. cat., A. Tartuferi (ed.), Ponte a Ema, Bagno a Ripoli, 19 September – 31 December 2009, Florence 2009, pp. 99–100 (as Agnolo Gaddi);

E. Fahy, ‘Florence and Naples: a cassone panel in the Metropolitan Museum of Art’, in Studi sulla pittura toscana del Rinascimento. Studies in Tuscan Renaissance Painting, vol. I, Scritti scelti, A. De Marchi and E. Sambo (eds), Bologna–Roma 2020, pp. 250–51 n. 27 (as the Master of Charles of Durazzo).