Tuscan School, late 15th century

Hekking collection;
From whom acquired by P.A.B. Widener, Ashbourne, near Philadelphia, by 1885, no. 219;
Leo Nardus (né Leonardus Salomon) and Arnold van Buuren, Haarlem (in joint ownership) Haarlem, before 1925;
Confiscated from the van Buuren residence, Haarlem, August 1942 and transferred to the bank Lippmann, Rosenthal & Co, Amsterdam;
By whom sold, Cologne, Lempertz, 2 June 1943, lot 40 (as Fillipino Lippi);
Private collection, Cologne;
By whom sold, Cologne, Van Ham, 14 November 2014, lot 503 (as Fillipino Lippi), sold pursuant to a settlement agreement between the consignor and the heir of Leo Nardus;
There acquired by the present owner.

P.A.B. Widener, Catalogue of paintings forming the private collection of P.A.B. Widener, Ashbourne, near Philadelphia, Paris 1895-1900.

The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 336 West 37th Street, Suite 830, New York, NY 10018, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's. This painting is in sound condition overall. Restoration is found throughout the painting, with the most recent campaign clearly visible under ultraviolet illumination and older retouches harder to discern beneath a fluorescing varnish. Retouching addresses losses along the joins, some diagonal scratches (through Mary's collarbone, through Saint's face, and cracks near bottom) and widespread wear particularly in the flesh tones. Toning has been applied to Mary's mantle to reinforce the modeling. The varnish is even and saturates the paints. The wood panel support is cradled on the reverse.
"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."

The tondo is a typically Tuscan tradition, reflected in art and architecture throughout the region, from the late Quattrocento to the mid-Cinquecento.  The round shape, with no beginning or end, signified eternity and was evocative of the divine.  For this reason, just as the duomo came to be an iconic feature in church architecture, the tondo format was reserved almost exclusively for religious subjects.