His head inclined to the left and the spiralled locks of hair falling on His shoulders, the perizonium with striped decoration and falling in multiple v-shaped folds.

Andrea de Marchi, Caterino d'Andrea Moranzone. Crucified Christ, unpublished paper.

RELATED LITERATURE
M. Walcher, Scultura in Friuli. Il gotico, Pordenone, 1980, pp.34-38, figs.1,3,8,9 (figs reversed).

Losses to tips of fingers and some restoration to fingers and toes. Small loss to end of lock of hair. Arms carved separately and reglued. Restoration to His left heel and under his right arm. Refreshed paint and some chipping/restoration. Minor age cracks. Nicely carved.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The attribution of the present corpus to Moranzone is based on comparisons with the sculptor's work including the signed dossal in the Correr Museum, Venice, as well as a wood crucifix from the Be𓂃nedictine monastery of San Cipriano in Trieste.

De Marchi, in his article (op.cit.), compares the specific treatment of the hair and ho🅺w it covers the head and shoulders, the schematic anatomy of the body, the pronounced cheekbones and the outline of the perizonium.

Moranzone (1399-1430) belonged to a large family of Venetian carvers active in the 14th 🥀and 15th centuries. He lived, like his father, in the contrada of S⛦an Luca and is first documented in 1399.