# The Mocking of Christ > Cenni di Pepo, called Cimabue - c. 1280 > Canonical HTML: https://iconotheca.com/artworks/cimabue/cimabue-the-mocking-of-christ/ > Published by Servola Systems GmbH. Last verified: 2026-08-10 ## Tombstone - **Artist:** Cenni di Pepo, called Cimabue - **Date:** c. 1280 - **Medium:** Egg tempera and gold leaf on poplar panel - **Dimensions:** 25.8 x 20.3 x 1.2 cm - **Object type:** Painting - **Period:** Italian Duecento, 1200-1300 - **Current location:** Musee du Louvre, Paris - **Attribution:** accepted ## Summary A panel the size of a sheet of writing paper, painted in egg tempera and gold on poplar in Florence or Pisa around 1280, found in June 2019 hanging beside the hotplate of a kitchen in Compiegne and sold four months later for the highest price ever paid at public auction for a work made before 1500. It is one of three surviving scenes from an object that was cut up for the trade, probably in the nineteenth century: radiography at the Louvre's laboratory has since proved that this panel and the National Gallery's Virgin and Child were sawn from the same plank of poplar, with this scene sitting directly beneath the Virgin.The French state refused it an export certificate on 20 December 2019 and classed it a national treasure, freezing it in France for thirty months. The Louvre did not complete the purchase until 25 October 2023, nearly four years after the sale and more than a year after the freeze had run out. The museum paid with income from the Louvre Abu Dhabi brand licence, a final million euros from the Societe des Amis du Louvre and a gift from two American patrons; the price has never been officially published.Conservation between 2022 and 2024 then changed the picture itself. Under a nineteenth-century repaint, Christ's open eyes turned out not to be Cimabue's: beneath them lay a white cloth band across the eyes. The scene is therefore not the mocking by Pilate's soldiers that every account of the sale described, but the earlier mocking before the high priest. The object was first shown to the public in January 2025. As of the Louvre's own online record it is not on display. ## Provenance Every link carries a grade. `documented` means a cited source supports it, `disputed` means the identification is argued but not established, `unknown` means we have no owner for that span and have not bridged it. - **c. 1280** One of eight scenes on a single object, maker's hands `[documented]` (origin) Painted in egg tempera and gold on a poplar plank, as one scene of a larger object divided into compartments by painted red and black fillets and enclosed by an engaged frame. Radiography at the C2RMF proves this panel and the National Gallery's Virgin and Child were painted on the same plank, this scene directly below the Virgin. That the object was a two-wing diptych of eight scenes is a reconstruction argued by Miklos Boskovits and Dillian Gordon from a later series by the Maestro di San Martino alla Palma; the Louvre's own conservation service also allows a dossal, an altar frontal or an altarpiece. Dated c. 1280 by the Louvre's catalogue entry and c. 1285-1290 in its 2025 exhibition material. - **c. 1280-1871** Not recorded `[unknown]` (gap) No owner, location or transaction is recorded for roughly six centuries. The object was cut apart and its scenes sold separately, probably in the nineteenth century and, on the trade's own account, by a dealer seeking a better return on the pieces than the whole; the panels were also thinned at that point. Neither the date of the dismemberment nor the identity of whoever ordered it is documented. How this scene reached northern France is unknown. - **by 1871-2019** Private collection, Compiegne `[documented]` (ownership) The Louvre's catalogue entry states: Compiegne, private collection since at least 1871 and until 2019. The INHA's Repertoire des tableaux italiens repeats the wording. The evidence for the 1871 date has not been published in any source consulted here, and it sits oddly beside the contemporaneous press accounts, in which the family did not know where the picture came from and thought it a Russian or Greek icon. The house in which it was found was built in the 1960s, so the family, not the building, carries the continuity. - **27 October 2019-25 October 2023** Alana Collection (Alvaro Saieh and Ana Guzman), United States `[documented]` (purchase) Bought at the Acteon sale in Senlis for 19.5 million euros excluding fees, 24.18 million with fees, by the Alana Collection of Italian painting; the winning bid was made in the room by Francesco Ortenzi of the London gallery Moretti on behalf of a client who was anonymous at the time. The Louvre's own object history names the Alana Collection as the buyer. On 20 December 2019 the French state refused an export certificate and classed the panel a national treasure for thirty months. The panel remained in France throughout and was studied at the C2RMF in 2019 and 2022 while in this ownership. - **25 October 2023-present** French State, held by the Musee du Louvre, Departement des Peintures `[documented]` (acquisition) Purchase by the State for the Louvre. Louvre acquisitions committee 12 April 2023; artistic council of the national museums 10 May 2023; decision, assignment and inscription in the inventory all 25 October 2023; announced by the minister of culture and the museum's president-director on 3 November 2023. Funded from Louvre Abu Dhabi brand-licence income, a final million euros from the Societe des Amis du Louvre and a gift from a couple who are members of the American Friends of the Louvre, named by the museum as Harry and Linda Fath. The price paid has never been published; The Art Newspaper understood that the Louvre matched the 24.1 million euro sale price. The acquisition was completed some sixteen months after the thirty-month freeze had expired. ## Auction results Hammer and buyer's premium are stated separately. Where a source conflates them this record says so. - **2019-10-27** Acteon - Compiegne Encheres OVV, co-organised with Hotel des Ventes de Senlis (Maitres Dominique Le Coent-de Beaulieu and Philomene Wolf), with the sale carried on the proces-verbal of Compiegne Encheres per the printed conditions, EXCEPTIONNELLE DECOUVERTE D'UNE PEINTURE DE CIMABUE, Sunday 27 October 2019, 14:30, Senlis. The house's catalogue page prints the address '63, rue du Faubourg-Saint-Martin 60300 Senlis'; the press and the Interencheres magazine place the sale in the Manege du Quartier Ordener, Senlis, before a room of up to 900. Both are recorded; the venue is not a price field and is left to the record desk., lot Single-lot sale: 'Lots 1 a 1 sur 1' on the house's catalogue; the house's lot page is headed 'Lot 0'. No lot number exists to record. - Estimate: EUR 4,000,000 - 6,000,000, as printed on the house's lot page; opened at EUR 3,000,000 per the Interencheres magazine report of the day - Hammer: EUR 19,500,000 (unchanged). Reconciled today against the house's own printed conditions: 'commission acheteur fixee a 20% hors taxes du prix au marteau' with French VAT at 20 per cent on that commission, i.e. 24 per cent of hammer all-in. 19,500,000 x 1.24 = 24,180,000 exactly, so the hammer and the total the record already carries are the same number seen from both sides. - With premium: EUR 24,180,000 premium-inclusive (unchanged), printed as '24,18 millions d'euros (frais compris)' by the Interencheres magazine on 27 October 2019, read in full today. Sold to Fabrizio Moretti for the Alana Collection per the record's existing sources; the house's lot page carries a 'Resultat' heading with no figure printed. - House lot page read 2026-09-16 at rung 1, HTTP 200, in full. Catalogued as: Cenni di Pepo dit CIMABUE (connu de 1272 a 1302), 'Le Christ moque', element d'un panneau de devotion, peinture a l'oeuf et fond d'or sur panneau de peuplier, H. 25,8 cm, L. 20,3 cm en tout, H. 24,6 cm, L. 19,6 cm surface picturale, epaisseur actuelle 1,2 cm. Expert: Cabinet Turquin, Stephane Pinta. Provenance as printed by the house, in full: 'Collection particuliere, environs de Compiegne.' The house's conditions also state, printed before the sale, that an export certificate application for a cultural good was pending and that payment would be deferred until the administration decided - the sentence that foreshadows the 2019 tresor national ruling the record already carries. Interencheres magazine (rung 1 gave a Cloudflare 403; read at rung 3 in the in-app browser, no login): eight bidders, three in the room; the auctioneer's own ranking of the picture as the eighth most expensive Old Master at auction is his, quoted, and not adopted. ## Exhibitions - Press presentation of the rediscovery, at which the attribution was made public., Paris, 24 September 2019; the discovery had been announced the previous day., 2019 - Pre-sale public showing, one day only, four days before the auction., Hotel de ville, Compiegne, 23 October 2019; somewhat over four hundred people are reported to have seen it. Recorded from a tertiary source and not confirmed against a primary one., 2019 - La Derision du Christ de Cimabue, L'Oeuvre en scene. A lecture presentation by Thomas Bohl rather than a display, two months before the exhibition opened., Auditorium Michel Laclotte, Musee du Louvre, Paris, 13 November 2024., 2024 - Revoir Cimabue. Aux origines de la peinture italienne, shown in English as A New Look at Cimabue: At the Origins of Italian Painting. Curated by Thomas Bohl; some forty works; catalogue number 38; sponsored by Lusis. The first public presentation of the panel after its acquisition, and the first time the three surviving panels of the group were brought together. The museum's own collection database records the exhibition under a different title, Cimabue. Aux origines de la peinture moderne en Occident., Musee du Louvre, Paris, Denon wing, first floor, room 717, the Salle Rosa., 2025, 22 January to 12 May - La jeunesse de la peinture. Cimabue ouvre la voie. An exceptional loan from the Louvre, announced as the first result of a strengthened partnership between the museum and the city of Avignon, whose Petit Palais has held a Louvre deposit of 320 Italian primitive paintings since 1976., Musee du Petit Palais - Louvre en Avignon., 2025, 6 June to 19 October ## Literature - Acteon, Senlis, sale catalogue and expertise for the sale of 27 October 2019, by Dominique Le Coent-de Beaulieu with the Cabinet Turquin (Stephane Pinta). The first publication of the panel: preliminary technical analysis, an infrared reflectogram of the underdrawing and a photomontage of the reverses of all three surviving panels. Cited by the C2RMF as Le Coent 2019. Not seen for this record. - Cooper, Donal, A long-lost Cimabue has emerged, and the first light of painting now burns brighter than ever, Apollo, 14 October 2019. The first scholarly assessment, published before the sale: the barbes and painted borders, the position of the panel within the ensemble, the Boskovits and Gordon reconstruction, the Clarissan argument, and statements from Holly Flora, Andrea De Marchi and Joanna Cannon. - Gordon, Dillian, The Virgin and Child by Cimabue at the National Gallery, Apollo, June 2003. The first full publication of the London panel, carrying Miklos Boskovits's reconstruction of the Maestro di San Martino alla Palma panels as a two-wing diptych of eight scenes, which is the framework into which this panel was later fitted. Not seen for this record; cited from Cooper 2019 and 2025. - Gordon, Dillian, National Gallery Catalogues: The Italian Paintings before 1400, London, National Gallery, 2011. The standard catalogue entry for the sibling panel NG6583, and the source of its published provenance. Not seen for this record; cited from the National Gallery's own online entry. - Meiss, Millard, 1951, the first publication of the Frick panel, as a work by Duccio. Not seen for this record; cited from Cooper 2025. - Offner, Richard, 1947, proposing that the Berlin Crucifixion and its related scenes were painted for one of the two Clarissan houses of Florence, Monticelli or Montedomini. Not seen for this record; cited from Cooper 2019. - Paintings in The Frick Collection: French, Italian and Spanish, volume II, New York, The Frick Collection, 1968. The source of the Frick's published collection history for the Flagellation: M. Rolla, G. Rolla, E. Moratilla in Paris, Knoedler, and the Frick in 1950. Not seen for this record; cited from the Frick's own online entry. - Flora, Holly, Cimabue and the Franciscans, Renovatio Artium volume 4, London, Harvey Miller and Brepols, 2018, iv and 287 pages, ISBN 978-1-912554-01-0; awarded the 2020 Premio San Francesco by the Pontificia Universita Antonianum, Rome. The standing monograph on the artist and on the Franciscan reading of his work, including a chapter on his use of white and one on the Franciscan Maesta. Publisher's description consulted; the book itself not seen for this record. - Flora, Holly, The Devout Belief of the Imagination: the Paris Meditationes Vitae Christi and Female Franciscan Spirituality in Trecento Italy, Brepols, 2009. The background to the argument that this panel and its companions parallel the Meditations on the Life of Christ as an instrument of Clarissan devotion. Not seen for this record. - Bohl, Thomas, Un Tresor national entre les collections: La Derision du Christ de Cimabue, Grande Galerie, le journal du Louvre, number 65, winter 2023-2024. The curator's first published account of the acquisition. From the Louvre's own bibliography for the object; not seen for this record. - Allard, Sebastien, L'actualite des primitifs: dix ans d'acquisitions, Grande Galerie, le journal du Louvre, number 65, winter 2023-2024. Places the purchase in a decade of Louvre acquisitions of early Italian painting. From the Louvre's own bibliography; not seen for this record. - Bohl, Thomas, Cimabue, XIIIe siecle. Aux origines de la peinture, Grande Galerie, le journal du Louvre, number 69, winter 2024. From the Louvre's own bibliography; not seen for this record. - Bohl, Thomas (editor), Cimabue. Aux origines de la peinture italienne, exhibition catalogue, Paris, Musee du Louvre, 2025, Milan, Silvana Editoriale and Musee du Louvre Editions, 2025. 256 pages, 170 illustrations, 42 euros; published in French only. The panel is catalogue number 38. - Bourriot, Audrey, and Ravaud, Elisabeth, La Derision du Christ de Cimabue. Etude, restauration, comparaison, Techne, number 58, 2025, an issue devoted to Cimabue and Tuscany at the end of the thirteenth century, edited by Thomas Bohl, the late Marco Ciatti and Elisabeth Ravaud, published by the C2RMF. The full technical and restoration publication. Cited from the Louvre's bibliography and the exhibition press kit; the article itself not seen for this record. - Bohl, Thomas, Tresors nationaux et oeuvres d'interet patrimonial majeur: departement des peintures, 2, Cimabue, La Derision du Christ, La Revue des musees de France. Revue du Louvre, 2025-2. From the Louvre's own bibliography; not seen for this record. - Bohl, Thomas, Un Tresor national prete au Petit Palais a Avignon, Grande Galerie, le journal du Louvre, number 71, summer 2025. On the Avignon loan. From the Louvre's own bibliography; not seen for this record. - Cooper, Donal, The Louvre restores Cimabue to his rightful place, Apollo, February 2025 issue, published online 3 February 2025. The fullest account in English of the reconstruction after restoration, of the Napoleonic provenance of the Louvre Maesta, and of the digital reconstruction of the screen at San Francesco in Pisa by Piergiuseppe Rechichi, Donal Cooper, Lucas Giles and Marco Giorgio Bevilacqua. - Aimi, Francesca, A new look at Cimabue: At the Origins of Italian Painting, The Burlington Magazine, number 1466, May 2025. Exhibition review. From the Louvre's own bibliography; not seen for this record. - Fileti Mazza, Miriam, Cimabue, Pisa, Pacini Editore, 2024. From the Louvre's own bibliography; not seen for this record. - C2RMF, La derision du Christ de Cimabue: Etude de l'oeuvre, 2 October 2024, and Restauration, 7 November 2024. Two illustrated technical accounts published by the laboratory, and the only freely accessible full statement of the material evidence. - Cimabue and Early Italian Devotional Painting, The Frick Collection, New York, 2006, with an accompanying publication supported by Lawrence and Julie Salander; exhibition coordinated by Holly Flora with Denise Allen. The occasion on which the Frick and National Gallery panels were first shown together. Publication not seen for this record. - De Cimabue a Giotto, la revolution des corps, documentary film directed by Juliette Garcias, 2024, 52 minutes, co-produced by the Musee du Louvre, CFRT and ARTE, first broadcast on ARTE on 16 March 2025. Not a text, but the widest circulation the object has had. ## Open questions - Where was the object between about 1280 and the nineteenth century? Nothing is recorded for the whole of that period for any of the three surviving panels. - What is the evidence for the Louvre's statement that the panel was in a private collection in Compiegne since at least 1871? The date appears in the museum's catalogue entry and in the INHA repertoire without a published basis, and press accounts of the discovery say the family did not know where the picture came from. - Which house owned it? The argument for a Clarissan convent is strong but the candidates are open: Monticelli or Montedomini in Florence, or Ognissanti in Pisa. - Was the parent object a diptych at all? The Louvre's conservation service also allows a horizontal dossal, an altar frontal or an altarpiece, and the National Gallery's catalogue entry does the same. - Do any of the five missing scenes survive? Only the subject of the fourth scene of this wing, a Betrayal, is even extrapolated; the four scenes of the second wing are entirely hypothetical. - What did the Louvre pay in 2023? No figure has been published by the museum or the ministry. The Art Newspaper understood that the museum matched the 24.1 million euro sale price. - Did the state ever make a formal purchase offer under article L121-1 within the thirty months, and on what basis did the sale proceed after the freeze expired in mid-2022? No published source consulted records either. - What was the auctioneer's valuation before expertise? The figure of 300,000 to 400,000 euros is repeated everywhere and appears in no primary source consulted here. - Who was the underbidder at the close? The last competing bidder is identified in the trade press only as a contemporary art gallery from Brussels. - What happened to the proceeds? The owner died two days after the sale leaving three heirs; no probate, tax or settlement figure has been published. - Why is the panel not on display? The Louvre's own record gives its location as not exhibited, with no reason stated, after the Avignon loan closed in October 2025. ## Sources - [1] Musee du Louvre, collections online, La Derision du Christ, inv. RFML.PE.2023.33.1, Departement des Peintures. HTML record and machine-readable record at the same ark, both consulted 3 August 2026. Carries the object history, the acquisition dates, nine bibliographic references and the exhibition history. - [2] Musee du Louvre, press release, Deux Tresors nationaux pour le musee du Louvre, 3 November 2023, with statements by Laurence des Cars and Louis-Antoine Prat. - [3] Ministere de la Culture, press release, Un panneau peint par Cimabue vers 1280, representant La Derision du Christ, reconnu tresor national, 23 December 2019. - [4] Arrete du 20 decembre 2019 refusant le certificat prevu a l'article L. 111-2 du code du patrimoine, NOR MICC1935802A, Journal officiel 22 December 2019. - [5] Avis n. 2019-14 de la Commission consultative des tresors nationaux, on the export certificate application filed 14 October 2019 for the Cimabue panel, published in the Journal officiel 22 December 2019. - [6] Code du patrimoine, articles L121-1 to L121-4, on the acquisition of cultural goods refused an export certificate: the thirty-month period, the purchase offer, the expert valuation procedure and the consequence of no offer being made. - [7] C2RMF, La derision du Christ de Cimabue - Etude de l'oeuvre, published 2 October 2024. Technical study led by Elisabeth Ravaud; radiography, X-ray fluorescence, microscopy; materials, gilding, barbes, painted borders and condition. - [8] C2RMF, La derision du Christ de Cimabue - Restauration, published 7 November 2024. Restoration 2022-2024; nailed strips, four varnish layers, the repaint over the blindfold, the punchwork, and the caution that the parent object may have been a dossal, an altar frontal or an altarpiece rather than a diptych. - [9] Musee du Louvre, press kit, A New Look at Cimabue: At the Origins of Italian Painting, 22 January to 12 May 2025 (PDF). Curator, catalogue, Techne issue, documentary film, the eight-panel diptych section and the Franciscan reading. - [10] Donal Cooper, A long-lost Cimabue has emerged, and the first light of painting now burns brighter than ever, Apollo, 14 October 2019. The barbes, the borders, the Boskovits and Gordon reconstruction, the Clarissan argument and quotations from Holly Flora, Andrea De Marchi and Joanna Cannon. - [11] Donal Cooper, The Louvre restores Cimabue to his rightful place, Apollo, 3 February 2025. The eight scenes in two wings of four, all three known panels from the left wing; Meiss 1951; the Manchester bombing; the Napoleonic history of the Maesta. - [12] Anna Brady, Kitchen Cimabue sells for 24.1m euros, The Art Newspaper, 27 October 2019. Hammer and premium, bidders, Ortenzi, Sarti, Turquin's worm-track argument and the National Gallery comparison. - [13] Gareth Harris, Cimabue kitchen painting placed under export ban ends up at the Louvre, The Art Newspaper, 6 November 2023. The funding statement, the Fath and Societe des Amis du Louvre gifts, the Alana Collection and the death of the owner two days after the sale. - [14] Diane Zorzi, Un panneau de Cimabue s'envole a 24,2 millions d'euros a Senlis, Le magazine des encheres (Interencheres), 27 October 2019. Opening bid, bidder count, room capacity, the ranking of dearer Old Masters, Pinta's description and the exact dimensions of panel and painted surface. Read through the Internet Archive; the publisher's server returns HTTP 403 to direct requests. - [15] Diane Zorzi, Le musee du Louvre acquiert Le Christ moque de Cimabue vendu a Senlis, Le magazine des encheres (Interencheres), 2 November 2023. The dismemberment of the object in the nineteenth century, Gordon's reconstruction, and the Louvre's inability to pre-empt at the sale for lack of funds. Read through the Internet Archive; the publisher's server returns HTTP 403 to direct requests. - [16] National Gallery, London, Cimabue, The Virgin and Child with Two Angels, NG6583. Catalogue entry with provenance from Dillian Gordon, National Gallery Catalogues: The Italian Paintings before 1400, London 2011, acquisition credit, exhibition history and bibliography. - [17] National Gallery, London, artist page, Cimabue (documented 1272, died 1302). - [18] The Frick Collection, The Flagellation of Christ, accession 1950.1.159, with collection history from Paintings in The Frick Collection: French, Italian and Spanish, volume II, New York 1968, and the curatorial commentary on the Cimabue and Duccio debate. Read through the Internet Archive; collections.frick.org returned HTTP 418 to two direct requests with different browser headers, and in-app browser navigation to the host was refused. - [19] The Frick Collection, past exhibition, Cimabue and Early Italian Devotional Painting, 3 October to 31 December 2006, coordinated by Holly Flora with Denise Allen; the technical comparison of the Frick and National Gallery panels. Read through the Internet Archive; frick.org returned HTTP 418 to direct requests. - [20] Martin Bailey, Water leaks into the Louvre's Cimabue exhibition, landing close to the master's greatest early painting, The Art Newspaper, 5 May 2025. - [21] Musee du Louvre, press release, Musee du Petit Palais - Louvre en Avignon: La jeunesse de la peinture. Cimabue ouvre la voie, pret exceptionnel de La Derision du Christ, 5 June 2025. - [22] Daniel Larkin, Will the Real Cimabue Please Stand Up?, Hyperallergic, 8 May 2025. Review of the Louvre exhibition; twelve securely attributed works, the pseudo-Arabic inscriptions, the Meditations manuscript and the Franciscan reading. - [23] AGORHA, Institut national d'histoire de l'art, Repertoire des tableaux italiens dans les collections publiques francaises (RETIF), record for La Derision du Christ, compiled by Clemence Raccah, consulted 3 August 2026. - [24] Musee du Louvre, event listing, La Derision du Christ de Cimabue, L'Oeuvre en scene, auditorium Michel Laclotte, 13 November 2024. - [25] Galleria degli Uffizi, Virgin and Child enthroned, surrounded by angels, known as the Rucellai Madonna, Duccio di Buoninsegna, about 1285, 450 x 290 cm, commissioned by the Compagnia dei Laudesi. - [26] Cavallini to Veronese, Cimabue. Secondary reference site; used for the Pisa cathedral payment records of 2 September 1301 to 19 February 1302 at ten soldi a day, the wartime storage of the Santa Croce Crucifix and the reading of the nickname. Flagged for replacement with the published Pisan cathedral archive. - [27] Associated Press report carried by Courthouse News Service, Cimabue Masterpiece Found in Kitchen Sells for 26.6 Million, 27 October 2019, with the AP photograph of Stephane Pinta presenting the panel in Paris on 24 September 2019. - [28] BBC News, Cimabue painting found in French kitchen sets auction record, 27 October 2019. Cited for the record framing and for its statement that the buyer was an anonymous buyer from northern France, which the Louvre's own record has since contradicted. - [29] The Art Newspaper, Louvre acquires Chardin's Strawberries painting thanks to 10,000 individual donors, 6 March 2024. The comparison case: 24.3 million euros at Artcurial in March 2022, export blocked, funded by LVMH, the Societe des Amis du Louvre and a public subscription. - [30] Wikipedia, La Derision du Christ (Cimabue), French edition. Tertiary source, used only for the pre-sale public showing at the Compiegne town hall on 23 October 2019, the naming of Stephane Pinta as the expert, and Alvaro Saieh's reported resignation from the board of the Metropolitan Museum of Art in order to bid. Flagged for replacement with contemporaneous French press. - [31] Wikipedia, The Mocking of Christ (Cimabue), English edition. Tertiary source, used only to record the widely repeated figure of 300,000 to 400,000 euros as the auctioneer's first view, which no primary source consulted here carries. Flagged for replacement. - [32] Wikimedia Commons file page for the National Gallery of Art's Enthroned Madonna and Child, Byzantine thirteenth century, accession 1949.7.1, gift of Mrs Otto H. Kahn, released CC0 by the museum. Used to verify the licence and the accession number of that plate. - [33] Wikipedia, Rucellai Madonna, English edition. Tertiary source, used only for the terms of the contract of 15 April 1285: 150 lire, no workshop assistance, and ultramarine and gold at the painter's expense. Flagged for replacement with the published contract. - [34] Brepols, publisher's page for Holly Flora, Cimabue and the Franciscans, Renovatio Artium volume 4, Harvey Miller, 2018, with pagination, ISBN, chapter titles and the 2020 Premio San Francesco. - [35] Acteon - Compiegne Encheres (house catalogue hosted at loizillon.com), 'Cenni di Pepo dit Cimabue, 'Le Christ moque' - lot page, sale of 27 October 2019'. Single-lot sale, estimate EUR 4-6m, dimensions, expert, the one-line provenance, the pending export certificate and the 20 per cent plus VAT buyer's commission that reconciles hammer and total. Accessed 2026-09-16. - [36] Acteon - Compiegne Encheres, 'EXCEPTIONNELLE DECOUVERTE D'UNE PEINTURE DE CIMABUE - sale page, 27 October 2019'. Sale title, date, time, address, 'Lots 1 a 1 sur 1' and the full printed conditions of sale. Accessed 2026-09-16. --- Images on this record are public domain or CC0 and are hosted by us. No image on this site is generated or simulated. If you quote this record, quote the provenance grades with it.