Property from a Private CollectionBolognese School, 13th centuryCrucifixion with the Virgin, Saint John the Evangelist, and two grieving angelstempera on panel, gold ground, in an engaged frame30.2 x 21.3 cm.; 11⅞ x 8⅜ in. painted surface: 25.7 x 17.1 cm.; 10⅛ x 6¾ in. -私人收藏博洛尼亞畫派，十三世紀《耶穌受難，聖母、傳福音者聖約翰與兩位哀傷的天使》蛋彩畫板，鋪金箔，配畫框30.2 x 21.3 公分；11 ⅞ x 8 ⅜ 英寸畫面︰25.7 x 17.1 公分；10 ⅛ x 6 ¾ 英寸品相: The following condition report is provided by Karen Thomas Art Conservation, New York, who is an external specialist and not an employee of Sotheby`s:Overall this painting is in very good condition. The paint layers are beautifully preserved, as can be seen in the vibrant palette and unbroken modeling, notwithstanding scattered, small paint losses that have not been restored. These observable losses are found around the perimeters of the figures, where the paint overlaps the gold ground, with the greatest concentration in the angels hovering at the extreme top of the panel. Minor retouching was carried out to address a few small losses near the bottom of Mary’s blue mantle, at the base of the cross, and in St. John’s feet. Newer gilding addresses scratches and wear in the background. The varnish is evenly glossy and free of discoloration. Remnants of a gesso coating are found on the reverse of the panel; this coating, as well as areas of revealed wood, has been painted a dark blackish-brown.While this painting may be displayed in its current state, restoring the eye-catching losses would help accentuate the strength of the picture."In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby`s is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."来源1: On the art market, Mâcon, circa 1927; With Galerie Althunian, Mâcon, by about 1950; With Franco Di Castro, Rome;With Carlo De Carlo, Florence; His posthumous sale (‘Eredi di Carlo De Carlo’), Florence, Semenzato, 19 October 2000, lot 283 (as Bolognese master of the last quarter of the 13th century); Where acquired by a private collector, Italy; By descent to his heirs;With Simon Dickinson, London (as Tuscan school); From whom acquired by a private collection;With Moretti Fine Art, London, until 2011 (as early Tuscan school, circa 1280);When acquired by the present collector.来源2: E.B. Garrison, Italian Romanesque Panel Painting, An Illustrated Index, Florence 1949, under ‘VI Rectangular Diptychs’, p. 100, no. 254, reproduced (as Venetian School [?], toward mid-14th century; whereabouts unknown);P. Toesca, Storia dell’arte italiana, Il Trecento, Turin 1951, p. 706, reproduced fig. 599 (as circle of Duccio);C. Volpe, La Pittura Riminese del Trecento, Milan 1965, pp. 11 and 56–57 n. 9, reproduced fig. 322 (as Bolognese painter, last quarter of the 13th century; whereabouts unknown);C. Volpe, ‘Gli affreschi duecenteschi delle arche sepolcrali’, in Il Tempio di San Giacomo Maggiore in Bologna, Bologna 1967, pp. 84–85 (as Bolognese, late 13th century; whereabouts unknown);D. Benati, ‘Pittura del Trecento nell`Emilia e Romagna’, in La pittura in Italia. Le origini, E. Castelnuovo (ed.), Milan 1985, pp. 170–71 and 192 nn. 39 and 40, reproduced in colour p. 170, fig. 262 (as Bolognese Master, last quarter of the 12th century); F. Zeri, ‘Un’insolita questione filologica’, in Paragone, 429, November 1985, pp. 93–96, reproduced pl. 75 (as anonymous, early 14th century; in an Italian private collection);D. Benati, ‘Pittura del Trecento nell`Emilia e Romagna’, in La Pittura in Italia: Il Duecento e il Trecento, E. Castelnuovo (ed.), Milan 1986, vol. I, pp. 210 and 230 nn. 39 and 40, reproduced in colour p. 208, fig. 319 (as Bolognese Master, last quarter of the 12th century); C. Volpe, ‘Gli affreschi duecenteschi delle arche sepolcrali di San Giacomo a Bologna’, in La pittura nell’Emilia e nella Romagna: Raccolta di scritti sul Trecento e Quattrocento, D. Benati and L. Peruzzi (eds), Modena 1993, pp. 30 and 32 n. 5, reproduced in colour fig. 3 (as Bolognese painter [?], last quarter of the 13th century); F. Zeri, ‘Un’insolita questione filologica’, reprinted in Giorno per giorno nella pittura, Turin 1998, pp. 255–57, reproduced fig. 337;D. Benati, ‘La città sacra, Pittura murale e su tavola nel Duecento bolognese’, in Duecento, Forme e colori dei Medioevo a Bologna, exh. cat., Venice 2000, pp. 96, 99–100, 106 nn. 49–50, and 62–65, reproduced (as Bolognese painter [?] of the end of the 13th century);L. Bellosi, in Un tesoro rivelato. Capolavori dalla Collezione Carlo De Carlo, M. Scalini and A. Tartuferi (eds), exh. cat., Florence 2001, pp. 19 and 27 n. 2, reproduced on p. 18, fig. 1 (as unknown Italian painter (Bolognese?), end of the 13th century);G. Freuler, in The Middle Ages and Early Renaissance, Paintings and Sculptures from the Carlo De Carlo Collection and other Provenance, exh. cat., Florence 2011, pp. 15 and 17 n. 12, reproduced on p. 15 (as unknown Italian painter of the late 13th century [Bologna?]); S. Chiodo, ‘Notes d’histoire de l’art sur les œuvres de la collection Alana XIIIe et XIVe siècles’, in La collection Alana, Chefs-d’œuvre de la peinture italienne, exh. cat., Paris 2019, p. 54 (as Bolognese, end of 13th century);F. Carelli, in La collection Alana, Chefs-d’œuvre de la peinture italienne, exh. cat., Paris 2019, p. 60, no. 2, reproduced in colour (as Bolognese, circa 1280).