Lippo d' Andrea

Anonymous sale, Milan, Finarte, 4 June 2008, lot 212 (as Pseudo-Ambrogio di Baldese [Lippo d'Andrea]);
There acquired by the present collector.

The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 336 West 37th Street, Suite 830, New York, NY 10018, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's. This picture is in good condition overall particularly in light of its age. It retains its original format, with a thick wood panel support and engaged frame. Retouching, visible under ultraviolet illumination, is found throughout the painting, primarily to address light wear. Most of the marble floor, bottom center, has been reconstructed and some strengthening is found in the smaller expanses of marble elsewhere. A portion of the throne to the right of Mary also appears to be reconstructed. Otherwise retouching is primarily focused on wear and losses in St. Francis' face and proper right arm and Saint John the Baptist's garment. A few tiny newer losses are visible in Mary's chest and to the right of her face. The painting displays a mild lateral convex warp. Structurally, the panel appears sound, however on the reverse old insect damage is visible as well as a deep crack, bottom left. Hairline cracks are found around the perimeter where the framing elements meet the wood board, and the sides may have been resurfaced. The painting may be displayed in its current state although consolidation and toning of the newer losses could be considered.
"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."

Formerly known as the “Pseudo-Ambrogio di Baldese,” this once anonymous master was identified by Linda Pisani in 2001 as the Florentine painter Lippo d’Andrea.¹  Though little is known about the artist’s life, his prolificacy suggests he was head of an industrious workshop and enjoyed a long career, spanning approximately five decades.²  While his style is embedded in the late Gothic tradition, Lippo d’Andrea appears to have been aware of the advancements of his peers in Florence and was influenced by the younger generation of artists in the early 15^th century, including Lorenzo Monaco, Giovanni dal Ponte and Masolino.

This painting was first ascribed to the “Pseudo-Ambrogio di Baldese” by Mina Gregori in an expertise retained in the Fondazione Zeri archive.³  At that time the master had been erroneously identified as a separate artist, Ventura di Moro, who was active in the ambit of Lippo d’Andrea circa 1420-1480.  Pisani dates this painting to around 1440, noting that the drapery folds and the face of the Virgin correspond of those in the artist’s Madonna and Child with Saints John the Baptist, Catherine of Alexandria, John the Evangelist and Dorothy of a similar date, in the Courtauld Institute Galleries, London (inv. no. P.1947.LF.202).⁴

We are grateful to Linda Pisani for confirming the attribution on the basis of photographs.

1. For more information on the artist see L. Pisani, “Pittura tardogotica a Firenze negli anni trenta del Quattrocento: il caso dello ‘Pseudo Ambrogio di Baldese,’” in Mitteilungen des Kunsthistorischen Institutes in Florenz, XLV, 2001, pp.1-36.
2. L. Pisani, written expertise, a copy of which is available from the department upon request.
3. See entry number 10703.
4. Ibid.