The present panel, until now only known through a photograph in the archive of the Zeri Foundation,2 was attributed by Todini to the Master of the Liverpool Madonna (see Literature), a fifteenth-century master first identified by Zeri, who connected several works to the anonymous figure.3 The Master has been variously affiliated with painters such as Antoniazzo (in whose studio he likely trained) and Pier Matteo d’Amelia, as well as having been in contact with Pintoricchio, with whom he may have worked on the Sala del Credo of the Borgia Apartments in the Vatican, the private residence of Pope Alexander VI (1492–1503).
1 Walker Art Gallery, Foreign Schools Catalogue, Text Vol., Liverpool 1963, p. 9, cat. no. 2751, reproduced Plates Vol., Liverpool 1965, fig. no. 2751.
2 Zeri no. 26047.
3 See F. Zeri, Italian Paintings in the Walters Art Gallery, Baltimore 1976, pp. 166–67; see also F. Zeri, ‘Appunti sul Lindenau-Museum di Altenburg’, in Bollettino d’Arte, XLIX, 1964, pp. 45–53, specifically pp. 52–3.
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