Lippo d' Andrea

Francesca di Lorenzo di Niccolo Frescobaldi, included in her dowry at the time of her marriage in 1508 to Paolo Tolomeo di Neri di Ser Piero di Tolomeo Gucci Tolomei (according to an old handwritten label on the reverse);
Possibly Angiolo di Matteo Frescobaldi (1811-1892) [see note below];
Heinrich Kaven, Berlin, by 1917;
His sale (and others), Lepke's, Berlin, March 22, 1917, lot 121 (as by Taddeo Gaddi);
Harry Fuld, Sr., Frankfurt, by 1925 to before 1932;
With Galerie Heinemann, Wiesbaden, 1970's.

Frankfurt, Städelsches Kunstinstitut, Zweite Veröffentlichung des Staedelschen Kunstinstituts Herausgegeben von Georg Swarzenski, Ausstellung von Meisterwerken alter Malerei aus Privatbesitz, Summer, 1925, no. 108 (as Italian Master, late 14th century);
Städelsches Kunstinstitut, Frankfurt, Vorläufiges Verzeichnis der Ausstellung von Meisterwerken Alter Malerei aus Privatbesitz im Städelschen Kunstinstitut, Summer, 1925, no. 116 (as Italian Master, late 14th century).

G. Swarzenski, Ausstellung von Meisterwerken alter Malerei aus Privatbesitz, Frankfurt 1925, p. 37, cat. no. 108, reproduced plate VIII (as Italian Master, late 14th century).

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This painting is in very healthy condition. The frame has probably been restored in some areas since the painting was painted. We feel that the gilding to the painting, including the halos, is of the period, and the painted areas seem to be in beautiful condition. There may have been some changes or losses in the dark cloak of the Madonna, but throughout the bulk of the remainder of the picture there seems to be very little damage or restoration. The panel has cracked in the center left and a vertical restoration about 9 inches long is visible under ultraviolet light in the gilded floor. We are very impressed with the condition generally, and neither under ultraviolet light nor to the naked eye are there any visible restorations of note. There are a few un-restored spots of loss beneath the neck in the shawl on the Madonna, but overall the picture is in lovely condition.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

We are grateful to Everett Fahy and Miklòs Boskovits for independently attributing the present panel to Lippo d'Andrea, based on photographs.  Both Fahy and Boskovits consider this panel to be a mature work by the artist, executed circa 1430.

We are grateful to the heirs of Harry Fuld, Jr., for clarifying the provenance of this lot.

An old handwritten label in an engraved cartouche affixed to the reverse of the panel reads as follows:

"Questo quadro è stato portato in casa Tolomei da Francesca di Lorenzo di Niccolò Frescobaldi nel suo corredo per il di Lei spo-salizio seguito ne 24 novembre 1508 con Paolo Tolomeo di Neri di Ser Piero di Tolomeo Gucci Tolomei con Dote di Fiorini dugento d'oro larghi" (This painting was carried to the Casa Tolomei by Francesca di Lorenzo di Niccolo Frescobaldi in her trousseau in her bridal possessions following her marriage on the 24 of November 1508 with Paolo Tolomeo di Neri di Ser Piero di Tolomeo Gucci Tolomei with a dowry of 200 gold fiorentine ducats). The coats of arms depicted on the frame at bottom right and left are those of the Tolomei Gucci family (right) and the Frescobaldi family (left), and would presumably have been added at the time of this marriage.

The cartouche glued to the reverse may date from the first half of the 19^th century and would appear to have been written by cavalier Angiolo di Matteo Frescobaldi (1811-1892), a renowned collector of gold grounds, who in the 1830s-40s bought paintings from monasteries, churches, patrician Tuscan families, and from his own relatives. It seems probable that he would have recognized the two family escutcheons on the frame and may have acquired it out of interest in the family history. 

We are grateful to Francesco Solinas for providing information on the Frescobaldi family history.