Master of Cola della Casse active in Foligno mid 15th Century

Wilhelm Suida, New York.

F. Todini, La Pittura Umbra dal Duecento al Primo Cinquecento, Milan 1989, vol. I, p. 115, reproduced vol. II, fig. 933;
F. Todini, Niccolò Alunno e la sua bottega, Perugia 2004, p. 498, cat. no. II.8, reproduced, pp. 165, 498.

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. The wood on which this work is painted seems to be original and is un-reinforced on the reverse. The gilded portion of the background and the carved and gessoed arch in which the saint stands may have been restored, and there are some paint losses in the center left where the old gesso has been lost. The saint himself seems to be in healthy condition and very little restoration has been applied. There are some dents to the paint layer which and a few isolated scratches and losses have been made in the fabric of the figure and to a lesser degree in the face, which seems to be very presentable.
"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."

This Saint Paul is one of a group of three extant pilaster panels from an altarpiece, together with a Saint Francis of Assisi in a Florentine private collection, and a Saint John Evangelist, formerly in a private collection, Milan (see Todini 2004 literature).

The Master of Cola della Casse was an artist active in the mid 15th Century in Foligno; his eponymous work is a series of frescoes in the Cola dell Casse chapel in the church of Santa Maria in Campis in that city.  The works are highly expressive and realized with great individuality, and Todini considers the master a highly important figure in the development in the art of Foligno.  He appears to have been a collaborator of the young Niccolò di Liberatore, and may have been linked with Pietro di Mazzaforte (documented 1444-1480, see Todini 2004 literature), although other scholars note the similarities between the master's works and that of the young Niccolò di Liberatore himself.