A few examples of appraisal values for
PIETA

• PIETA CARITA FRATERNITA MARBLE
  PIETA CARITA FRATERNITA MARBLE SCULPTURE, 20TH C. "Pieta, Carita, Fraternita" [Piety, Charity, Brotherhood] figural marble sculptural group depicting Christ, Nicodemus, the Virgin Mary and Mary Magdalene during the deposition from the cross in Giallo Antico marble, above a sphere surmounting a white Carrara marble base on which the title is set in contrasting stone, apparently unsigned. 38.5" H x 17" W x 12" D.
• JOACHIM PROBST "ROSE PIETA" OIL
  JOACHIM PROBST "ROSE PIETA" OIL ON CANVAS, 1960 Joachim Probst (American, 1913-1980), "Rose Pieta" Oil on Canvas, 1960, signed lower right and inscribed "Probst / 1960-1961 / "ROSE PIETA" to verso. Image: 60" H x 50" W; frame: 61" H x 51" W. Keywords: Paintings, Religious, Mother Mary, Jesus Christ
• AFTER SALVADOR DALI BRONZE
  AFTER SALVADOR DALI BRONZE PIETAAfter Salvador Dali (Spain, 1904-1989). Figural abstract bronze, Pieta, after Michelangelo's Madonna della Pieta. Impressed signature and numbered 202. 4"H including marble base.
• A GROUP OF CONTEMPORARY RETABLOSA
  A GROUP OF CONTEMPORARY RETABLOSA group of contemporary retablos, Five works: Nicholas Herrera (b. 1964, New Mexico) "La Divina Potera," 20th/21st century, New Mexico Signed and titled recto: La Divina Potera / Nicholas H; further signed and inscribed verso With figure in red holding sheep, with cactus garland and black bird 10.5" H x 5.875" W Nicholas Herrera (b. 1964, New Mexico) Untitled, 20th/21st century, New Mexico Signed verso: Nicholas Herrera; further inscribed verso With kneeling figure in black with large mustache and bow, arrows and cross 13" H x 11.25" W Gustavo Victor Goler (b. 20th century, New Mexico) "Santo Nino de Atocha," 1997 Polychrome retablo on carved panel Signed, titled, and dated verso: Talpa / '97 12.375" H x 9" W Diego Lopez (b. 20th century) "San Francisco," 1996 Polychrome retablo on carved panel Signed, titled, and dated verso: Diego Lopez / San Francisco / '96 19" H x 8.625" W Cruz Lopez (b. 20th century) "Pieta," 2000 Polychrome retablo on carved panel Signed, titled, and dated verso: Cruz Lopez / Pieta / 2000 16.625" H x 8.375" W 5 pieces Provenance: The Estate of Eleanor Koffler
• 17TH & 18TH CENTURY VELLUM BOUND
  17TH & 18TH CENTURY VELLUM BOUND BOOKS, 4 Assortment of four antique vellum bound books, including Sermoni Di S. Lorenzo Giustiniani Tradotti dal Latino dal Padre D. Niccolo Antonio Giustiniani Tomo Primo (1750), Theologia Moralis A Reverendo Patre Anacleto Reiffenstuel Tomus Secundus (1773), Philipp Jakob Spener Catechismus(1689), Johann Gerhard Schola Pietatis (1653). Largest: 10" H x 7.5" W x 1" D. Wear, losses, pencil, foxing, toning. Property from the Estate of designer, model, television host, and business woman, Nina Griscom.
• BERNARDINO GATTI, IL SOJARO "PIETA"
  BERNARDINO GATTI, IL SOJARO "PIETA" OIL ON CANVAS Bernardino Gatti, called Il Sojaro (Italian, 1495-1575/76) "The Pieta," oil on canvas, depicting the Virgin holding the body of Christ, bearing Christie's labels on reverse (see note at bottom), housed in a parcel gilt ebonized frame. Image: 27.75" H x 22" W; frame: 38" H x 32" W x 2.5" D. Note: The attribution to Bernardino Gatti comes from a Sales Room Notice at Christie's when this painting was previously sold as Lot 239 in "Important Old Master Paintings, Part II," on April 5, 2006. The notice from Christie's reads in full: "We are grateful to Giovanni Godi of Consultenza d'Arte, Milano for pointing out that Giuseppe Cirillo has attributed the present painting to Bernardino Gatti, Il Sojaro (Pavia 1495-1575/76 Cremona) - see G. Cirillo, Ancora per la pittura parmense del Cinquecento in Parma per L'Arte, Anno IX, Fasciolo 1-2, 2003, pp. 43-44, fig. 14." Previously, the painting was attributed to Circle of Scipione Pulzone, called il Gaetano (Italian, 1540-1598). Provenance: Removed from a private residence at the Pierre Hotel.
• 20TH CENTURY SCHOOL: PIETÃOil on
  20TH CENTURY SCHOOL: PIETÃOil on gold leaf paper mounted on canvas, signed 'Emile Nolde' and dated 1897 lower right. 23 1/2 x 17 in. (sheet), 32 3/4 x 27 in. (frame). Note: Attribution to Emile Nolde could not be made. Condition Sheet mounted on canvas. Canvas with wax lining. A pressure dent with attendant splits at center. Other splits and creases. Surface soiling and scuffing.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• PAINTED TERRACOTTA FIGURAL GROUP OF
  PAINTED TERRACOTTA FIGURAL GROUP OF THE PIETA, POSSIBLY SOUTH GERMAN20 x 13 1/2 x 10 in. Condition The Madonna is missing her left hand and Christ is missing his right hand. Losses along the base with minor nicks and chips throughout. Small hole in the back of the Madonna's head. Numerous wear to the painted surface particular on the body of Christ with minor staining and crazing. Structurally sound.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• PAINTED TERRACOTTA FIGURAL GROUP OF
  PAINTED TERRACOTTA FIGURAL GROUP OF THE PIETA, POSSIBLY SOUTH GERMAN20 x 13 1/2 x 10 in. European Works of Art from the Collection of Luigi Pellettieri Condition The Madonna is missing her left hand and Christ is missing his right hand. Losses along the base with minor nicks and chips throughout. Small hole in the back of the Madonna's head. Numerous wear to the painted surface particular on the body of Christ with minor staining and crazing. Structurally sound.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• CONTINENTAL SCHOOL: PIETATempera on
  CONTINENTAL SCHOOL: PIETATempera on canvas. 12 1/4 x 9 in. (frame). Condition Soiling, soft creases. Stains and vertical abrasion across the front with associated losses.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• ITALIAN RENAISSANCE WOOD CARVING
  ITALIAN RENAISSANCE WOOD CARVING The Pieta, 16th c. finely carved mahogany, on integral plinth with foliate decoration, flat back, 9 1/2" x 8" x 3 1/2". Missing one hand from each where they would have met.
• SMITH CAVALRY CARBINE, .50 CAL A
  SMITH CAVALRY CARBINE, .50 CAL A Civil War-era Smith Carbine made for the U.S. Cavalry by Poultney & Trimble of Baltimore. The firearm utilizes a unique break-action mechanism which was coupled with a propietary paper-cartridge with an additional rubber gasket to complete the gas seal. This particular carbine is in overall fine condition, with some recoil cracks in the stock, a missing tang screw, and some frosting just forward of the chamber. The finish is largely worn off with maybe 60% remaining and some minor pitting around the percussion nipple and hammer. S/N: 7531, Caliber: .50 Cal BP, BBL: 21 1/2", OAL: 39"
• BAVARIA. A PICKELHAUBE OF
  BAVARIA. A PICKELHAUBE OF 1915-16, AN EARTHENWARE BOTTLE BEARING THE BAVARIAN ARMS AND A PIETÀ A Pickelhaube of the 1915-16 design bearing the armos of Bavaria; A stoneware bottle bearing the polychrome arms of Bavaria, signed M.K.M.; An alabaster Madonna della Pietà signed A. Santini (for the sculptor Amilcare Santini) after Michelangelo Buonarroti’s sculpture now housed in Saint Peter's Basilica, Vatican City. (3)
• 5 PORCELAIN & COMPOSITION
  5 PORCELAIN & COMPOSITION PLAQUESLot of 5 composition and porcelain plaques. German jasperware plaque with cherub, 10 1/4" x 8"; 2 Royal Copenhagen plaques in gilt frames, plaques 6"-diameter, with frames 11 5/8" x 11 5/8"; A. Santini composition plaque after Michelangelo's Pieta, 10 1/2" x 7 3/4"; composition plaque Saint Joseph with child, 5 1/4" x 4 1/8" including frame. Scratches on left and right sides of Pieta plaque; chips along edge of Saint Joseph plaque, chips to plaque on reverse, frame bent, scratches to plaque above Joseph's head; repairs to top of jasperware plaque.
• MICHAEL STACK "SATURN DEVOURING HIS
  MICHAEL STACK "SATURN DEVOURING HIS SON" (1966 OIL)Michael Stack (Missouri, 1941-2018) Saturn Devouring His Son , 1966 Oil on canvas 46 1/4" x 45 1/4" An expressive modern variation on Francisco Goya's grisly classic, signed and dated to the bottom right corner. An unrelated composition is painted to the reverse of the canvas, depicting a woman holding a man's dead body, itself perhaps a variation on Michelangelo's Pieta . The canvas is not framed. Condition Very good condition, with no notable issues observed under blacklight inspection.
• ANTIQUE MIX METALS, MARQUETRY
  ANTIQUE MIX METALS, MARQUETRY WOOD AND JACQUARD VELVET DEVOTIONAL ALTAR SHADOW BOX, CA. 18TH/19TH CENTURY 26 ?" x 17 ?" x 1 ¾" Rectangular wooden shadow box with glass pane, hand made devotional altar with ecclesiastical triptych, carved horn rectangular box with fine bass-relief of Pieta, pilgrimage devotional medallions of Virgin Mary and Jesus Christ with emblem of Sacred heart pierced with swords, marquetry arched altar with different designs, all attached to the maroon jacquard velvet backing; back panel with red velvet upholstery.
• BAPTISMAL/ EUCHARIST KIT WITH
  BAPTISMAL/ EUCHARIST KIT WITH CERAMIC GROUP OF THE PIETA Baptismal/ Eucharist kit with ceramic group of the Pieta, 23.5"h x 13"w
• Joe Brown 1909–1985. Pietà. 1944
  Joe Brown 1909–1985. Pietà. 1944 / 1969, bronze. 13¼ h × 14¼ w × 11¼ d in. estimate: $5,000–7,000. Cast signature and date to verso ‘Joe Brown 1969’.
• LARGE ADO SANTINI ALABASTER
  LARGE ADO SANTINI ALABASTER FIGURINE, PIETAHand finished, hand painted statue of Jesus on the lap of his mother Mary after the Crucifixion. Original by Michelangelo. Signed A. Santini. Includes Santini tag. Figure mounted on wooden base. Artist: Ado Santini Issued: 20th c. Dimensions: 15"H Country of Origin: Italy
• 2 OLD MASTER STYLE RELIGIOUS
  2 OLD MASTER STYLE RELIGIOUS PAINTINGS, PIETA & CHRIST ...Two (2) Continental School, circa 1800 oil on canvas religious paintings in similar frames. 1st item: Classical scene depicting Mary holding the Christ as a child, observed by groups of cherubs at her feet and in the sky. while a male figure, possibly Joseph, reads from a book in the background. 16 1/4" H x 13 1/8" W; framed: 22 1/2" H x 19 1/2" W. 2nd item: Pieta in the style of El Greco, depicting Mary holding Christ's body after His crucifixion and gazing upwards in supplication with two cherubs at her side. 16 1/4" H x 14 7/8" W; framed: 22 1/2" H x 21" W. Both paintings with "Estate of F. H. Whitmore" labels affixed, en verso, and housed in identical giltwood frames with bead course sight edge. Note: Copies of the institution's accession documentation are available to the winning bidder. The documentation on the Pieta painting has a hand-written note, "Bought at Beckhardt" - possibly a reference to dealer Adolf Beckhardt, who worked in New York City between 1890-1962. An F.H. Whitmore with considerable assets appears in tax lists for Connecticut and New York City in the 1860s. Property of a Tennessee Religious Institution. Condition: Christ child painting over cleaned or skinned with minor areas of inpainting to the left of Mary's profile and right of lower kneeling cherub. Pieta painting with craquelure throughout; evidence of old cleaning and possible inpainting with corresponding areas fluorescing under UV light. Pieta frame with minute loss of gilt at top left corner of sight edge.
• CIRCLE OF DANIEL SEGHERS
  CIRCLE OF DANIEL SEGHERS PAINTING, THE PIETA WITH FLOWE...Flemish School, circle of Daniel Seghers (Flemish, 1590-1661) and Nicolas Poussin (1594-1665), oil on canvas religious painting depicting the Pieta; the Virgin Mary holds the crucified Christ in her lap at the foot of the cross, flanked by angels, with God the Father watching from above. The scene is surrounded by colorful floral foliage including tulips and roses against a dark background. Unsigned. Old label en verso illegibly reads "Segh..1590-1660, 1632-1693 Figuno." Housed in a carved giltwood frame. Sight: 28" H x 22 1/4" W. Framed: 34" H x 28" W. 17th century. Property of a Tennessee Religious Institution. Condition: Considerable grime; in need of cleaning. Area of exfoliation with losses, bottom right corner, approximately 8" long. Some scattered and fleabite losses around the perimeter. Painting has not been lined. Frame with scattered wear and gilt loss to corners.
• RAIMUNDO DE OLIVEIRA "PIETA" OIL ON
  RAIMUNDO DE OLIVEIRA "PIETA" OIL ON CANVASRaimundo de Oliveria (Brazil, 1930-1966) oil on canvas framed in a black wood frame; signed to lower center "Raimundo Oliveira 1955" and titled to back "Pieta"; measures approximately 30" x 37-1/2" with frame and has a sight image of approximately 28-1/4" x 35-13/16". Provenance: Originally acquired directly from the artist, and entered into the Carlos Vasconcelos Maia Collection, Salvador, Bahia. Later added into the E.W. Hook Collection in Charlottesville, VA. Offered by Christie's New York in May, 2013.
• CORNELIU PETRESCU "PIETA" MIXED
  CORNELIU PETRESCU "PIETA" MIXED MEDIA ON PAPERCorneliu Petrescu (Romanian, 1925-2009), "Pieta" mixed media on paper, monogrammed, dated lower right " '77". Framed, not examined out of frame. Sight size: 13 3/8" high, 13 3/8" wide. Frame size: 20 1/4" high, 20" wide. Condition: Any condition information included in our lot descriptions is not the equivalent of a written condition statement, and the absence of condition information does not imply that the lot is free of defects. Our auction lot descriptions reflect our effort to provide accurate, objective and fair information on all lots for sale, and we encourage bidders to request written condition statements and large file images on any lots of interest by emailing condition@woodburyauction.com. We also strongly advise that you or someone on your behalf inspect the lot personally before bidding. All lots are sold "as is" and "where is" and neither we nor any consignor makes any warranties or representation of any kind or nature with respect to the property. There are no returns and no refunds based on condition.
• THE LAMENTATION OF CHRIST,
  THE LAMENTATION OF CHRIST, DELACROIX C. 1852-63Featured in this lot is an Original "The Lamentation Of Christ, A Study In Progress" attributed to Eugène Delacroix, circa 1852-1863; Provenance: Henry Sjaardema collection Big Sky, Montana. Delacroix, considered the greatest painter of the Romantic period, is probably best known for his painting “Liberty Leading the People.” He is far less known and appreciated as an important painter of religious subjects, yet with 120 pictures and over 220 drawings depicting traditional subjects, like The Pietà or Christ on the Cross, initiate the style of modern religious art. Although Delacroix (1798-1863) has been characterized as a radical and an unbeliever who found religion irrational, these pictures challenge claims that Delacroix’s religious subjects were few in number, mere commissions remote from his personal interests. Delacroix’s religious paintings were informed in general terms by the Romantic penchant for introspection that defined the aesthetic experience as a sign of the spiritual. In 1847, 1848, and again in 1857, Delacroix painted variations of The Lamentation. Delacroix’s early work is in marked contrast to his later versions which were created in a variety of media from the 1840s through the 1850s. The later pictures demonstrate a transformation from the solitary, strong, heroic figure to a more austere and vulnerable personality, posed in a stark and haunting vision of suffering as described in the Gospel of Mark. Delacroix continued to paint until the end of his life, but in his last years, perhaps as a result of personal reflection, he increasingly focused on Christian-themed works. This oil painting features the central figures of the Virgin Mary, arms outstretched, standing over the white-robed lifeless body of Christ being borne by three men. Next to Mary is a young boy, three adults are in the forefront right side while one man in the forefront left side is holding a torch in front of what appears to be the entrance to a cave. In the above left background, a cross is visible on a hill, three figures kneeling over a dead body. This painting was made over two strips of horizontal canvas. Appears unsigned but is titled and dated on an accompanying metal plaque. The painting has an ornate gold gilt wood frame. Craquelure observed, scuffing, and spotting observed on the reverse of the canvas. Visible art measures 92"L x 66.5"W with the frame measuring 97.5"L x 72.5"W x 2.5"D.*
• SEVEN GILT PAINTED GLASS LAY DOWN
  SEVEN GILT PAINTED GLASS LAY DOWN PERFUMESlate 19th/early 20th century, British, American and Continental, comprising: gilt painted cylindrical and rectangular bottles, one faceted vaseline glass example, lacking stopper, one with paper label "Theo. Ricksecker/New York", in original box, one blue opaline example, inscribed "Nei giorni tui felici" to one side and "Amami per pieta" on the other, some with enamel painted decoration, longest 7-3/4 in. Provenance: Collection of Janice and Joe Boyd Condition: minor scratching, wear and rubbing to gilt and enamel painted decoration, some stoppers possibly associated
• 19TH C. SPANISH COLONIAL PAINTED
  19TH C. SPANISH COLONIAL PAINTED WOOD OF THE PIETANew World, Spanish Colonial, Mexico, ca. early 19th century CE. A hand-carved and painted wood sculpture of the Pieta, dramatically displaying Mary's mournful state as she holds her dead son. Her head is raised upward, one arm out, as his body slumps against her. Both figures are sensitively carved, with Christ depicted as muscular and lean, and Mary's face and flowing clothing carefully and realistically rendered. The santo rests atop a round, dark wood pedestal. Size: 7" L x 8" W x 12.5" H (17.8 cm x 20.3 cm x 31.8 cm) The Pieta is a common subject of Christian art, one of the Sorrows of the Virgin Mary that arose as a focus for devotion during the Middle Ages and that continues today as part of Marian worship. Mary holds her only son after he has been taken down from the cross, lamenting his death. This is one of the darkest moments of the New Testament and the somber tones and dark patina of this figure contribute to the outpouring of grief that it engenders. Santos played an important role in bringing the Catholic Church to the New World with the Spanish colonists. These religious figures were hand-carved and often furnished with crowns, jewels, and other accessories, usually funded by religious devotees, and were used as icons to explain the major figures - Mary, Christ, and the saints - to new, indigenous converts. Likewise, they served as a connection to the Old World for Spanish colonists far from home. They became a folk art tradition in the Spanish New World, from modern day Guatemala to as far north as New Mexico and Colorado. Many of them were lovingly cared for over the years, with repairs and paint added as they aged, and played an active part for a long time in the religious life of their communities. Provenance: private Francis & Lilly Robicsek Collection, Charlotte, North Carolina, USA, acquired second half of the 20th century All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120430 Condition: Craquelure and dark patina. With small areas of loss to the paint as shown. One of Mary's hands has been replaced, and the replacement has losses to the fingers. Christ is missing both arms below the elbow.
• Lenox Bone China Pieta Limited
  Lenox Bone China Pieta Limited Edition Sculpture- 8''
• SPANISH COLONIAL SCHOOL, LARGE
  SPANISH COLONIAL SCHOOL, LARGE CARVED WOOD PIETA 17th/18th c., gilt and polychrome painted carved wood, depicting the fallen Christ resting in the lap of a seated Virgin Mary, 16"h x 9"w x 5"d
• OLD MASTER SCHOOL, OIL ON PANEL,
  OLD MASTER SCHOOL, OIL ON PANEL, PIETA Old Master School (Likely Italian, 17th/18th c.), Lamentation of Christ. Pieta, oil on cradled panel, partial Italian export label dated 1925 on verso, 20.25"h x 16.25"w x 1"d
• JEAN-LOUIS FORAIN, SIGNED ETCHING
  JEAN-LOUIS FORAIN, SIGNED ETCHING Jean-Louis Forain (French, 1852-1931), "Pieta", pencil signed lower right, marked "1st state" lower left, matted and framed under glass, gallery label verso, 12.25"h x 17"w (sight), 19.25"h x 23.75"w (frame)
• CHARLES UMLAUF (1911-1994) 'PIETA
  CHARLES UMLAUF (1911-1994) 'PIETA II' LITHOGRAPHUnframed lithograph on paper, "Pieta II," signed lower right Charles Umlauf (American, 1911-1994), numbered 11/ 15, sheet: approx 22.5"h, 30"w
• OIL ON TIN RETABLO, LA PIEDAD
  OIL ON TIN RETABLO, LA PIEDAD PIETA, MEXICOFramed oil on tin retablo, Mexico, La Piedad (Pieta), the Virgin Mary cradling the Crucified Jesus, a sword piercing her breast, accompanied by another female figure, possibly Mary Magdalene, two angel carry a crescent moon, retablo: 13.75"h, 10"w, overall: 26"h, 15.5"w, 3lbs
• THREE BOOKS ON ART OF THE EARLY
  THREE BOOKS ON ART OF THE EARLY RENAISSANCE Collection of three books on the art of the early Renaissance and art influenced by the early Renaissance comprising: "Michelangelo's Three Pietas", Frederick Hartt, "Giotto To Durer: Early Renaissance Painting In The National Gallery", multiple authors, and "Drawings After The Codices Madrid Of Leonardo Da Vinci", Joseph Beuys. Dimensions: Approx. of the largest, h. 13", w. 10", d. 1.25". "
• OIL ON TIN RETABLO, LA PIEDAD
  OIL ON TIN RETABLO, LA PIEDAD PIETA, MEXICOFramed oil on tin retablo, Mexico, La Piedad (Pieta), depicting the Virgin Mary holding the Crucified Jesus, a blade piercing her heart, set in a nocturnal landscape with two moons, surrounded by the Instruments of the Passion (Arma Christi), sight: 13.5"h, 10"w; overall: 14.75"h, 11"w, 3lbs
• SHADOWBOX FRAMED RELIGIOUS ICONS
  SHADOWBOX FRAMED RELIGIOUS ICONS PIETA & DEESIS(lot) Shadowbox framed religious icons, including: (one) oil on wood panel painting of the Pieta, (one) Byzantine style icon of the Deesis, Christ enthroned, flanked by the Virgin Mary and Saint John the Baptist, (two) metal saint crowns, overall: approx 15.5"h, 20"w, 7.25lbs
• STEPHEN WHITE (NC), LA PIETà AND
  STEPHEN WHITE (NC), LA PIETà AND ECCE HOMO (TWO WORKS) The first an oil on paper laid on panel, signed at lower left, depicting the Madonna and Christ (The Pietà), framed (frame dimensions 28 3/8 x 24 in.) (several air pockets, minor creasing in lower right corner); the second oil on paper laid on panel, signed and dated 1972, depicting Ecce Homo, framed (frame dimensions 18 x 11 3/4 in.) (minor separation to lower right corner of frame).