Studio of Alessandro di Mariano Filipepi, called Sandro Botticelli

Private collection, France, since 1935.

The support, constructed from 4 horizontal planks, is uncradled and has developed a slight convex bow towards the top. The painting has recently been cleaned and restored and in moderate overall condition. The paint surface has suffered from abrasion in numerous areas, for example the sky and landscape, then pink of the virgin's robes and the Baptist's halo. The blues of the Madonna's robes have now all degraded and have been repainted. There has been fairly substantial restoration to much of the background, notably around the figure of the Christ Child, the head of the Baptist, the donkey and the landscape areas and the details of the architecture. The joins between the panels have all been restored. There has been less intervention in the figures where the tempera seems better preserved, but there have been quite dense local retouchings to the flesh of the Child, and the hands, veil and face of the Madonna. The varnish is shiny, glossy and even. Offered unframed.
"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 design follows that of a rectangular panel (cut down from a tondo between 1854-1921) in the National Gallery of Scotland, Edinburgh, and the painting thus records the appearance of this latter prior to its mutilation. The Edinburgh panel was accepted as an autograph Botticelli by Waagen, Venturi, Berenson and Salvini but by later and modern scholars it has been given to the master's workshop (see R. Lightbown, Sandro Botticelli, vol. II, London 1978, p. 135, cat. no. C36, reproduced).