Tuscan School, circa 1470

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This painting on panel has not been restored for a number of years. The grain of the wood runs diagonally and there are two battens which have been added to reinforce the reverse. However, significant instability has developed to the paint layer and is clearly visible throughout the picture. At the very least, consolidation of the paint layer is required. It seems that at the top and bottom of the panel a section about one inch deep has been added. In addition to the cracking and flaking, the painting is quite dirty and there are old restorations beneath the dirty varnish. This picture does require restoration yet, given its period, further restoration can make great improvements.
"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."

Deschi da parto (literally birth salvers) were round or polygonal painted and decorated panels produced to commemorate the birth of a child.  They became fashionable mostly in Florence, where they were produced from about 1380 up until the mid-16th Century when the fell out of favor.  These double-sided pictures were meant as show pieces for aristocratic homes, and like forziere and cassoni, were intended to impress.

The subject depicted on this desco is derived from the first book of Petrarch's Triumphus Cupidinis or Triumph of Cupid.  The poet describes a vision, in which he sees the god of love, Cupid, on top of a triumphal car:

Quattro destrier vie più che neve bianchi;
sovr'un carro di foco un garzon crudo
con arco in man e con saette a' fianchi.....
d'intorno innumerabili mortali,
parte presi in battaglia e parte occisi,
parte feriti di pungenti strali.¹

Despite Petrarch's somewhat grim description, the theme was a popular one for deschi, and a number of such depictions are extant, particularly by Apollonio di Giovanni or his followers.²

1.  "I saw four horses, more white than snow,
and on a fiery cart a callow boy
with a bow in hand, and with arrows by his sides....
around him countless mortals,
some taken in battle and some killed,
and some wonded by his stinging arrows."
2.  See C. de Carli, I Deschi da Parto, Turin 1997, cat. nos. 34, 36-39.