Pseudo Pier Francesco Fiorentino

With Richard Philp, London;
Acquired from the above by a relative of the present owner in 1988 for £18,000.

The thick panel has some minor damage around the edges of the reverse resulting from old woodworm, but is otherwise stable and uncradled. The paint surface is somewhat worn and has undergone more than one campaign of restoration. Inspection under UV light reveals delicate old retouching to flesh tones of the figures and infilling of craquelure throughout the background. The newer campaign of restoration consists of repair to a small area of lifted gesso and paint surface in the lower left corner, and to the dark tones of the Virgin's sleeve on the far right. There are small areas of missing paint in the gold of the halo. The paint on the engaged frame is slightly worn, and there a number of small cracks in the paint.
"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."

This composition relates to the central panel of a lost altarpiece by Fra Filippo Lippi, known only through a drawing that is part of a letter dated 1457 (Florence, Archivio di Stato; see J. Ruda, Fra Filippo Lippi. Life and Work with a Complete Catalogue, London 1993, p. 496, cat. no. D4, reproduced p. 39, Pl. 15 and p. 495, Pl. 387). There are many known versions of this composition, several of which are given to the Pseudo-Pier Francesco Fiorentino, an artist identified by Berenson¹ and now considered a follower of Pesellino and Fra Filippo Lippi.²

1.  B. Berenson, Italian Pictures of the Renaissance. Florentine School, 2 vols, London 1963, vol. I, pp. 171–74.
2.  F. Zeri, Italian Paintings in the Walters Art Gallery, 2 vols, Baltimore 1976, vol. I, pp. 80–85.