S. Castri, 'Infaticabile Bonvicino: Due Crocifissi ritrovati, un restauro e considerazioni sui procedimenti di bottega', in E. Francescutti (ed.), Crocifissi lignei a Venezia e nei territori della Serenissima, 1350-1500, Padua, 2013, pp. 81-91, pls. 40 and 44;
G. Menegazzi, Immagini di restauro fra Venezia e l'Istria, exhibition catalogue, Fondazione Querini Stampalia, Venice, 2015, p. 33

The corpus is a fragment, and as such there are losses, notably to the legs below the knees and both arms. There are further minor losses to some of the locks of hair, to the crown of thorns at the front, to the tip of the nose, and to a few of the points of the drapery. There is some evidence of past worming throughout. There is a small wooden pin inserted in the perizonium at the waist, and there are three metal pins visible at the back. There are losses and wear to the polychromy throughout, but it survives mostly in the face, the torso, and in parts of the perizonium.
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.

This evocative Corpus has convincingly been attributed to Antonio Bonvicino, the foremost Venetian carver of wood crucifixes in the early decades of the 15th century. Bonvicino's masterpiece is the monumental Crucified Christ in the church of Santi Apollinare e Cristoforo in Casteldimezzo (Markham Schulz, op. cit., figs. 1-7), which is signed by the sculptor. The present work, by contrast, is small scale and was almost certainly made for a private devotional context. Within Bonvicino's oeuvre, the present sculpture finds close stylistic parallels in a Cristo Passo in the church of San Carlo Borromeo in Mestre (Castri, op. cit., pl. 43) and a Crucified Christ in the Museo del Canton Ticino, Lugano (ibid., pl. 44). As with the present Corpus, the example in Lugano displays a slender torso and rich, cascading drapery on the hips, and features comparable to wood sculpture from of the International Gothic style which Markham Schulz  associates with Bonvicino's later oeuvre (op. cit.). 

RELATED LITERATURE
A. Markham Schulz, 'Antonio Bonvicino and Venetian Crucifixes of the Early Quattrocento', in Mitteilungen des Kunsthistorischen Institutes in Florenz, vol. 48, no. 3, 2004, pp. 293-332