View full screen - View 1 of Lot 10. Crucifixion | Crucifixion.
10

Italian, late 14th/early 15th century

Crucifixion | Crucifixion

Restricted Species

Estimate:

12,000 - 18,000 EUR

9

10

11

Italian, late 14th/early 15th century

Italian, late 14th/early 15th century

Crucifixion | Crucifixion

Crucifixion | Crucifixion

Estimate:

12,000 - 18,000 EUR

Lot sold:

35,280

EUR

Italian, late 14th/early 15th century

Crucifixion


ivory relief; on a modern metal stand

11 x 15,5 x 3 cm ; 4 ⅓ by 6 by 1¼ in.

____________________________________________


Italie, fin XIVe/ début du XVe siècle

Crucifixion


relief en ivoire ; sur un socle moderne en métal

11 x 15,5 x 3 cm ; 4 ⅓ by 6 by 1¼ in.

Very good condition overall, with some losses to the edges and to the four corners. There are six drilling holes to the edges, where the relief seems to have been attached.

There appears to be a restored break, from top to bottom of the panel running up the middle section.


Please note: Condition XVI of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. (Veuillez noter que l'Article XVI des Conditions Générales de Vente applicables aux Vendeurs (Ventes Effectuées Exclusivement en Ligne) n'est pas applicable pour ce lot.)


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Please note that there appears to be a restored break, from top to bottom of the panel running up the middle section.

Sam Fogg , London, 2011, where it was acquired by the present owner;

French Private collection.

___________________________________________


Galerie Sam Fogg, Londres, 2011, acquis par le propriétaire actuel ;

Collection privée française.

Related Literature

P. Williamson, The Wyvern collection medieval and later ivory carvings and small sculpture, London, 2019, cat. no. 134.

D. D. Egbert, 'North Italian Gothic ivories in the Museo Cristiano of the Vatican Library', Art Studies, VII, 1929, pp. 169-209.

___________________________________________


Références bibliographiques

P. Williamson, The Wyvern collection medieval and later ivory carvings and small sculpture, Londres, 2019, cat. no. 134.

D. D. Egbert, 'North Italian Gothic ivories in the Museo Cristiano of the Vatican Library', Art Studies, VII, 1929, pp. 169-209.

This Crucifixion is close to a group of ivories – diptychs, triptychs and small panels –published in 1929 by Donald Drew Egbert (art. cit.). Like ours, this ensemble of ivories, discussed in relation to an important triptych in the Musei Vaticani in Rome (inv. no. MV.64.650.3.1.), was made in Venice in about 1400, in the circles of the Ubriachi workshop.


The present ivory may be compared to a diptych leaf in the Wyvern collection (Bowdoin College Museum of Art, Maine, inv. no 1002). Belonging to the same group, our panel is similar in its iconography, style of execution and arrangement of figures in the composition (cf. P. Williamson, 2018, op. cit., cat. no 134). 


Like the Wyvern leaflet, the present Crucifixion is distinguished by the densely grouped figures on either side of the cross, who wear long robes with angular folds. The facial features are individualised, with a very distinctive style, entirely typical of Venetian ivories. Mary Magdalene can be identified kneeling at the foot of the cross, with the Three Marys on the left and the centurion St Longinus on horseback, armed with his lance; on the right, Stephaton holds a long stick tipped with a sponge soaked in vinegar with which to clean Christ’s wound. In the crowd, among the soldiers on the right, St John the Baptist can be seen pointing at the Crucifix with his finger.

___________________________________________


Ce relief d'une Crucifixion, présenté ici, peut être rapprochée d’un groupe d’ivoires, - diptyques, triptyques et petits panneaux - référencés en 1929 par Donald Drew Egbert (art. cit.). Cet ensemble d’ivoires, assemblé autour d’un important triptyque aux musées du Vatican à Rome (inv. n° MV.64.650.3.1.), a été réalisé à Venise vers 1400, dans l’entourage des œuvres de l’atelier des Ubriachi.


Par son style d’exécution et l’agencement des personnages, notre ivoire présente des analogies avec un feuillet de diptyque de la collection Wyvern (Bowdoin College Museum, inv. no 1002). Appartenant à ce même groupe, on y retrouve une iconographie et composition similaires à notre ivoire (cf. Williamson, 2018, op. cit., cat. no 134). 


Comme le feuillet de la collection Wyvern, notre Crucifixion se distingue par un agroupement dense des personnages, de part et d’autre de la croix, habillés de longues robes aux plis angulaires. Les traits des visages sont individualisés, dans un style très particulier, tout à fait caracteristique des ivoires vénitiens. On distingue Marie Madeleine, agenouillée au pied de la croix, les Trois Maries, à gauche et le centurion Saint Longin sur un cheval, muni de sa lance. Stéphaton, à droite, balance une éponge imbibée de vinaigre sur un long bâton pour nettoyer la plaie du Christ. Dans la foule, parmi les soldats à droite, on aperçoit Saint Jean Baptiste, désignant le Crucifié du doigt.