Scolaio di Giovanni (formerly known as the Master of Borgo alla Collina)

The catalogue illustration is representative. Painted on a single panel with minor old woodworm damage that has not compromised the paint surface. The paint surface is in good overall condition given the painting's age. There is an even craquelure overall. There is no apparent damage or loss of paint other than the loss of some of the ground along the upper right hand side, as can be seen in the catalogue illustration. Examination under ultra-violet reveals several campaigns of cosmetic retouching in the background. There is also more recent infilling to the aforementioned craquelure and there is additional retouching to the lower panel edge. The green pigment of his cope appears to be a later edition. Overall the panel is in sound stable structural condition and the picture is in good ready to hang condition. Offered in a gold frame with a red velvet inlay.
"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."

Until recently known as the Master of Borgo alla Collina, after the altarpiece from 1423 in the church of San Niccolò in the eponymous village near Arezzo, the artist has now been identified as Scolaio di Giovanni. From the monograph recently dedicated to him it is clear that he was deeply influenced by the international gothic styled brought to Florence by, among others, Gherardo Starnina, with whom the artist is known to have worked closely.¹

Presumably this large fragmentary figure shows the figure of Saint John who would have stood at the foot of the Cross. Typical of the artist are the long sinuous folds of his robe, the mannered pose, and the rich colouring. The work can be closely compared to the figure of Saint John in the artist's Crucifixion in the Pinacoteca Civica in Volterra.²


1. See A. Lenzo, Il Maestro di Borgo alla Collina, Proposte per Scolaio di Giovanni pittore tardogotico fiorentino, Florence 2012.
2. Idem, pp. 140-41, cat. no. XLVIII, reproduced in colour.