This late 18th-century Italian oil painting fragment depicts Mary Magdalene kneeling alongside an alabaster jar. Christ’s hand is partially visible above, along with his robes, which suggests it’s referring to the moment when Mary witnessed Christ following his resurrection.

Three days following the crucifixion, Mary visited Christ’s tomb to discover that it was open, the sealing stone being rolled away. She broke down, weeping, unaware of his resurrection. A figure emerged, whom she initially believed was a gardener, until Jesus called her by name, and his identity was revealed. Her initial reaction was to embrace him, but this was rebuked with “touch me not” or “do not cling to me”. We see this moment portrayed with Mary dropping to one knee.

We can only imagine what the entire piece would’ve looked like, but for reference, it’s interesting to consider Fra Bartolomeo’s work from circa 1506, and Antonio da Correggio’s from circa 1525. Ours is later, circa 1780, and inspired by Venetian models, particularly with reference to the colour and stylisation. Paolo Veronese’s Penitent Magdalene is useful for comparison.

Scholars have discussed various theories as to why Christ dismissed Mary’s attempted embrace, particularly as he encouraged Thomas (he of doubting fame) to touch him. Some suggest that Mary’s love was driven by complete faith, and as such, physical contact was not required to prove that Christ had risen from the dead. Whereas Thomas needed tangible evidence, hence the contact.

In person, this piece emits a gentle old master glow and was evidently painted by an artist with profound respect for the old Italian masters.

Held in a later frame.