Luca da Perugia

With Galleria Bellini, Florence.

F. Todini, La Pittura Umbra: dal Duecento al primo Cinquecento, Milan 1989, vol. I, p. 97, reproduced in vol. II, p. 280, fig. 620 (as Luca da Perugia).

The catalogue illustration is representative. The panel has bowed somewhat with time but this does not seem to have impacted the paint surface. Old inactive wood worm marks are present to the reverse of the panel. The paint surface appears to the naked eye to be well preserved: the gold ground has faded in some of the central section but the punchwork can still be made out clearly. Along the lower right edge the punchwork has faded and some surface scratches are presentalong the Madonna's face, to the centre of the Child and in the lower part of Anthony Abbot. These are all visible in the catalogue illustration. Inspection under UV light reveals some strengthenings: to the left of Anthony's head and to his book and small strengthenings in his mantle; in the fairer parts of the Madonn'as clothing- around her neck, hands and lap; in Christ's halo and neck; around Agustine's beard. Some further retocuhings are scattered along the integral framewhich has someminor losses.
"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."

Despite being from Perugia, as his name indicates, this artist was active in Bologna during the first two decades of the 15th century. In 1417 he signed a fresco in the chapel of Santa Brigida in the church of San Petronio, Bologna. About three years later he signed another fresco, also in the same church, on the pilaster between the chapel of Santa Brigida and the Cappella della Pace. This small devotional panel is one of very few easel paintings that have been attributed to the artist. Prof. Filippo Todini, who first published the work in 1989, has more recently endorsed the attribution on the basis of photographs.