Workshop of Marco Palmezzano

Manfrin collection, Venice (according to a label on the reverse).

The catalogue illustration is representative. The paint surface is secure and under a thick discoloured and uneven varnish. Fine craquelure is present in the sky. Discoloured retouchings are visible to the naked eye. An area of retouching in the saint's left arm is present as well as some other retouchins in the cloak. These are confirmed under UV light as well as further scattered retouchings eg in the left fore paw of the lion. Offered in a carved and painted wood frame in fair condition. A new varnish would improve the tonality of the painting.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The artist is known to have repeated the composition at different stages in his career. A signed and dated panel from 1503 can be found in the Galleria Nazionale in Rome.¹ Berenson lists another later version from 1537 in Venice in the collection of Conte Vittorio Cini, inv. no. 3303.²

1. See B. Berenson, Italian Picture of the Renaissance, Central and North Italian Schools, vol. I, London 1968, p. 316.
2. Ibid, p. 317.