North Italian, 14th century

centred by a quatrefoil enclosing the three quarter length figure of an apostle, flanked by further heads within roundels

The surface with overall weathering as visible in the catalogue photograph. Otherwise in overall good condition.
"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."

This delicate stone fragment would originally have formed part of an architectural decorative scheme. The saint within the quatrefoil holds a book and may represent one of a group of the four evangelists. The weathering to the surface is very varied, with some elements well preserved, suggesting that the relief was most probably situated in a semi-exposed location within an ecclesiastical setting. The raised lines visible on the surface are probably hard veins in the marble which have been less affected by the elements and thus stand proud of the surrounding surface.

The particular shape of the quatrefoil, pierced between the lobes by corner points, is typical of 14th-century design. Further examples of the shape can be seen across northern Italy, as seen for example on the tomb of Francesco and Simone dei Pazzi in the basilica of Santa Croce, Florence, 1341. The most famous example of the use of this pierced quatrefoil is in Ghiberti's first bronze doors for Florence's Baptistry, conceived following the competition for the commission in 1401 at the emergence of the renaissance. Ghiberti's quatrefoils are turned so that the lobes form a diagonal cross and each contains a scene. The quatrefoil framing device was one of the last vestiges of the Gothic style in Ghiberti's oeuvre.