View full screen - View 1 of Lot 26. Madonna and Child holding a goldfinch.
26

Master of the Assumption of the Magdalene

Madonna and Child holding a goldfinch

Property from a Distinguished Private Collection

Master of the Assumption of the Magdalene

Master of the Assumption of the Magdalene

Madonna and Child holding a goldfinch

Madonna and Child holding a goldfinch

Property from a Distinguished Private Collection

Master of the Assumption of the Magdalene

Active in Ferrara first quarter of the 16th century

Madonna and Child holding a goldfinch


oil on panel

panel: 15 ¼ by 12 in.; 39 by 30.5 cm.

framed: 22 ½ by 19 ¼ in.; 57.2 by 48.9 cm. 

The following condition report has been provided by Karen Thomas of Thomas Art Conservation, 119 West 23rd Street, Suite 400, New York, NY 10011, 212-562-4024, karen@thomasartconservation.com ,an independent restorer who is not an employee of Sotheby's. This painting is in very good condition overall. The paint layers are generally free of abrasion and damage. Restoration, primarily applied to knit together unevenness in the glazes used for the Madonna's garments and to address narrow bands of losses along the joins, has been carried out at a very high level. Some of the colors in the restoration have begun to shift, a typical aging development. Narrow bands of tenting in the paint are located in the left 3 inches of the picture, and near the top of the panel, right of center. A hairline crack runs the length of the painting, right of the Madonna's head. The varnish is marginally discolored, slightly cloudy in isolated areas, and very glossy. Scattered matte spots correspond to retouching. The vertically grained wood panel displays a noticeable lateral convex curvature. The panel has been slightly thinned, skirting around a wax seal in the top right, and exposing a network of woodworm tunnels. Oxidation indicates the presence of a cradle (non-original) at some point, since removed. Old cracks have been repaired with putty. The crack on the right, visible in the varnish and paint, along with the areas of tenting, suggest the wood support is sensitive to environmental changes in temperature and/or relative humidity. Consolidating the tenting paint is advisable to prevent losses from developing. The painting should be kept in as consistent an environment as possible or enclosed in a microclimate package.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Please note the additional provenance.

Probably Poniatowski collection (as indicated by wax seal coat of arms on the reverse);

Anonymous sale, Paris, Piasa, Drouot-Richelieu, 25 June 2004, lot 33 (as Lorenzo Costa);

There acquired by the present collector. 

V. Lapierre, "L'Elevazione della Maddalena ed il suo enigmatico maestro", in Schifanoia: a cura dell’istituto di studi rinascimentali di Ferrara, vol. 40-41, 2011, p. 234, reproduced, fig. 8 (as location unknown). 

In a letter dated 5 May 2004, Everett Fahy endorsed the attribution of this elegant Madonna and Child to this Ferrarese master, who bears close stylistic comparisons with Lorenzo Costa. His eponymous work is the Assumption of the Magdalene of circa 1500-1510 in the Pinacoteca Nazionale, Ferrara. Though rediscovered and reattributed following its sale in 2004 (see Provenance), this panel can be related with the Holy Family preserved in the National Gallery of Ireland (see E. Negro and N. Rojo, Lorenzo Costa, 1460-1535, Modena 2002, pp. 119-120, reproduced fig. 48), which has at various times been given to this rare but beautiful artist. Additionally, the format of the composition and overall technique here may be compared with the artist's Madonna with Saint Nicolas of Tolentino in the Thyssen-Bornemisza collection, Lugano.