Florentine School, fourth quarter 15th century

Cornelius Vanderbilt collection, New York;
By whom given to the Metropolitan Museum of Art, in 1880 (Inv. no. 80.3.679).

New York, The Metropolitan Museum of Art, "Florentine Paintings in the Metropolitan Museum," June 15–August 15, 1971, no catalogue.

Catalogue of the Paintings in the Metropolitan Museum of Art, New York 1905, p. 59, no. 27 (as Domenico Ghirlandaio);
B. Burroughs, Catalogue of Paintings, 1st ed., New York 1914, p. 131 (as Florentine School, 15th century);
B. Berenson, Italian Pictures of the Renaissance, Oxford 1932, p. 37 (as Alesso Baldovinetti);
B. Berenson, Pitture italiane del rinascimento, Milan 1936, p. 32 (as Alesso Baldovinetti);
H.B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings, New York 1940, p. 43 (as Florentine School, third quarter of the 15th century);
B. Berenson, Italian Pictures of the Renaissance: Florentine School, vol. I, London 1963, p. 22 (as Baldovinetti);
F. Zeri and E.E. Gardner, Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School, New York 1971, p. 142, reproduced (as follower of Domenico Ghirlandaio, fourth quarter of the 15th century);
B.B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Mass. 1972, pp. 83, 372, 545, 605 (as Circle or Workshop of Domenico Ghirlandaio);
K. Baetjer, European Paintings in the Metropolitan Museum of Art, By Artists Born Before 1865, A Summary Catalogue, New York 1980, vol. I, p. 93, reproduced vol. II, p. 33, fig. 80.3.679;
K. Baetjer, European Paintings in the Metropolitan Museum of Art, By Artists Born Before 1865, A Summary Catalogue, New York 1995, p.19, reproduced fig. 80.3.679.

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. Overall, this picture is in very good condition, particularly given its fragmentary state. The light tonality of the fresco technique is heightened by a whitish material coating the surface, possibly an exudation of salt from the plaster support, a common occurrence with frescos. Beneath this pale veil, the image is well preserved with a few obvious, restored losses in the saint's forehead, cheek, and shoulders. Restoration no longer matches its surroundings. Some cracks have developed, consistent with the age of the fresco. Incised lines are artifacts of the fresco technique. Light cleaning to remove the whitish surface material and soiling would improve the appearance, as would addressing losses and off-color restoration.
"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."

In his 1971 catalogue of the Metropolitan Museum's collection (see Literature), Federico Zeri the pronounced incision of the figure's outline and features, suggesting this painting followed a cartoon.  Zeri proposed that the fragment may originally have formed part of an outdoor street  tabernacle.