LIPPO D'ANDREA | A PROPHET
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, email@example.com, an independent restorer who is not an employee of Sotheby's.
This painting is in sound condition, with a carefully applied restoration that is not visible in normal light. The vertically grained wood support appears to be a single board, carved to create the recess for the painted figure. The gold background has been reinforced with new gold leaf and it appears some of the punchwork was added at a later moment. A meandering vertical crack runs through the far right of the painted area, and mild lifting can be seen in the scroll. Much of what lies to the right of the crack is reconstruction, including the top of the scroll and the proper left hand inside the bottom of the scroll. In the face, restored losses are found along the profile on the right and along the jawline. The green garment appears to be reinforced with restoration, as are the darkest shadows in the red garment. Consolidation to address the lifting along the crack is advisable, otherwise this picture shows no need of intervention.
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Private collection, Milan.
Before Lippo D’Andrea’s artistic identity was recently confirmed, his oeuvre had been attributed to a painter otherwise known as the Pseudo-Ambrogio di Baldese. He represents one of the more conservative styles of Florentine paintings from the first third of the 15th century. His compositions were highly sought after, even as other artists experimented with a more humanist approach in the dawn of the Early Renaissance.
The natural folds of the cloths and realistic rendering of the saint's beard give this panel a likely date of execution to circa 1420, when the artist's Gothic style was influenced by the humanist advancements of his peers in Florence, including Lorenzo Monaco (1370 - 1425) and Giovanni dal Ponte (1385 - 1438).
We are grateful to Dr. Angelo Tartuferi for endorsing the attribution to Lippo D’Andrea on the basis of first-hand inspection.
1. For more information on the artist, please refer to L. Kanter, "Lippo d'Andrea di Lippo", in Painting and Illumination in Early Renaissance Florence, 1300-1450, New York 1994, pp. 318-21.