North Italian, 15th century

seated enthroned with right hand raised in blessing, inscribed above SANCTE ANTONI ORA  PRO NOBIS

The sculpture survives in stable condition and is well preserved considering the age of the piece . There is overall wear, scratches, worming and minor losses commensurate with age. Worm holes throughout (not active); paint and gilding refreshed (particularly evident on face and hands). Three wood supports with felt added to secure the chair to the frame. There is evidence of earlier repair to the back of the top of the frame and the scrolls on either side may be later.
"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 seated and enthroned figure of Saint Anthony Abbot can be compared to another gilt and polychrome wood figure of a seated bishop in the Museo di Torcello, attributed to a Tuscan master working in the Veneto in the second half of the fifteenth century. Note the treatment of the hand raised in blessing and the drapery with the smooth planes over the shoulders and at the knees.

The Saint also bears comparison with Lombard work, particularly a polychromed wood figure of Saint Anthony Abbot from an altarpiece of the Nativity in Grosio, dating to the late fifteenth century. The careful carving on the strands and waves of the beard is close to the present example and drapery combines smooth and rumpled sections as the present figure.

This accomplished figure is a fascinating example of the transition between Italian late Gothic and Renaissance sculpture. Whilst the iconic stiffness of the bishop with the raised hand and formal posture is reminiscent of an earlier period, the magnificent cathedra of the present group brings the sculpture firmly into the Renaissance period with the scroll relief beneath the saint's feet and the classicising pediment.

RELATED LITERATURE
Legni sacri e preziosi: Scultura lignea in Valtellina e Vachiavenna tra Gotico e Rinascimento, ex. cat. Museo valtellinese di storia e arte, Milan, 2005, no. 28, pp. 128-131; Museo di Torcello, Sezione medioevale e moderna, Venice, 1978, cat. 129