The 'Maestro del Cristo Docente' otherwise known as 'Maestro Francesco' or 'Francesco Fiorentino'

The support consists of two vertical panels. There are many scattered old worm holes in the panel, most notably to the reverse with a few scattered holes visible in the paint surface, which is otherwise generally secure. The details of the figures, the patterned ground and gilding are well preserved although somewhat abraded, so that in some areas the ground is visible, this is most noticeable in the faces of the Virgin and Child where a greenish tone is evident which is perhaps the result of past overcleaning. There is a knot in the wood under the Virgin's face, visible in raking light and the gold of her halo has abraded. Elsewhere the gold appears to be original and is in good condition. Minor scattered retouching works are visible to the naked eye in the area of the old worm holes. These are confirmed under UV light which also reveals some strengthening to the robes of Christ, a handful of minor scattered retouchings to the patterned ground and scattered throughout the robes of James the Greater(?). Offered in an engaged frame with carved gilt mouldings, generally sound but with some 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."

We are grateful to the late Prof. Miklos Boskovits for having endorsed the attribution on the basis of photographs.

The artist previously known as 'Maestro Francesco' or 'Francesco Fiorentino' was re-named 'Maestro del Cristo Docente' following an article by Eve Borsook in which the artist's eponymous work in the church of Santa Maria a Quarto outside Florence was published for the first time.¹ The altarpiece, which is signed 'Francesco' and dated 1391, shows The Madonna and Child in Glory with Saints John the Baptist and Nicholas of Bari and the predella shows Christ before members of the Florentine Signoria (eight priors and the red-gowned gonfaloniere di giustizia), amongst which sits the painter himself. The list of priors of 1391 refers to 'Maestro Francesco di Ser Niccolò Medico' serving a two-month term in March and April of that year.

1. See E. Borsook, 'Maestro Francesco and a portrait of the Signoria of Florence', in Festschrift Ulrich Middeldorf, Berlin 1968, pp. 60-63.