Workshop of Giovanni de Fondulis (circa 1425-1497) Italian, Lombardy, second half 15th century

There is dirt and wear to the surfaces consistent with age. On both reliefs the surface is a darker colour towards the bases. There is dirt and wear to the velvet lined mount consistent with age.Relief with the Female SaintThere is particular wear to the surface. There are a number of fractures particularly to the proper right thigh. There are a number of small firing cracks including to the Saint's drapery at the proper left side low down. There are a number of restorations including to the decoration at the edges of the drapery and to the Saint's proper right cheek. There are abrasions and composite residues, in particular to the top of the relief. There may be restorations to the feet.Relief with the Male SaintThere are numerous small losses throughout, including a loss to the proper right index finger and to the top left corner. There are several restorations including to the nose, proper right thumb and index finger and possibly to the feet. There are abrasions to the surface, particularly to the knees and shins.
"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 present reliefs appear to come from an altar from which two other figural reliefs of Saint Catherine of Alexandria and Saint Catherine of Siena in the Musée des Arts Décoratifs, Paris also originate. Avery (1981, op.cit. p.36) notes that all four reliefs relate stylistically to fragments of reliefs from two further altars, one with Saint John the Baptist and Saint Francis in the Acton Collection, (see L. Planiscig, op. cit.figs. 123-4) and the other with Saint John the Baptist in a private collection in Florence.

RELATED LITERATURE
V. Sgarbi (ed.), La Scultura al tempo di Andrea Mantegna, exh. cat. Castello di San Giorgio, Mantua, and Palazzo San Sebastiano, Mantua, 2006; L. Planiscig, Andrea Riccio, 1927, Vienna, figs. 123-4

A Report on Thermoluminescence Analysis from Oxford Research Laboratory for Archeology and the History of Art indicates that sample no. N113h88 (female saint), 2013, was last fired 300 to 600 years ago (1413 - 1713) and that sample no. N113h87 (St. John), 2013, was last fired 400 to 700 years ago (1313 - 1613).