Saint Agnes, illuminated miniature from a manuscript choirbook on vellum

a cutting, 165 mm. by 159 mm., a very large initial 'D' (perhaps from the gradual "Diffusa est" on the feast of Saint Agnes, 21 January), a half-length figure of a girl with fair hair, looking over a low parapet, holding a book (red morocco, with gilt tooling) and a palm of martyrdom, the Lamb of God seated on another book on the top of the parapet, all within a very large initial in flamboyant leafy style in colours including two dolphin heads on the left and classical architectural ribbing on the right, on a burnished gold ground with four blue flowers, slight rubbing at edges, in a gilt frame

From the collection of William Young Ottley (1771-1836); his sale in these rooms, 11 May 1838, probably part of lot 65, or possibly separately as lot 109, "One – St. Agnes with the Lamb".  Afterwards in the collections of Robert S. Holford (1808-1892) and Sir George Holford (1860-1926; R. H. Benson, The Holford Collection, Dorchester House, Oxford, 1927, p. 7, no. 66a); Holford sale in these rooms, 12 July 1927, part of lot 32.

Condition is described in the main body of the cataloguing where appropriate.
"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."

Illuminated by the Master B. F.  It is from the same manuscript as the previous lot.

The composition is close to several by Leonardo da Vinci.  His La Belle Ferronière in the Louvre (Inv. 778), painted c. 1490-95, shows a similar half-length young woman, with centrally-parted hair, looking out across a parapet, as here.  The left hand of Saint Agnes, stretched out with the palm downwards, is a favourite motif of Leonardo, and is used, for example, in the versions of The Virgin of the Rocks (Louvre and National Gallery, London) and in the Madonna of the Yarnwinders, c. 1501-07, in the collection of the Duke of Buccleugh.