Bruno Canto, Milan;
In the present collection since at least 1963.

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. Several campaigns of retouching, some discolored, are found throughout the painting. Cracks throughout the paint reveal dark underpaint below. It is likely the background was originally covered in gold leaf, but is now toned a dark brown. Two losses of gesso near the top reveal the wood support below. A thick, somewhat cloudy varnish coats the surface. The vertically grained wood panel support has two modern crossbars and an Italian-style structural intervention on the reverse: channels have been cut into the wood and intermittently filled with small pieces of new wood.
"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."

This anonymous painter shows the influence of the Genoese master Donato de' Bardi.  The sculptural quality of the molded flesh, the roundness of the Madonna's face and the precise, linear treatment of her downcast eyes all recall de' Bardi's Saint Stephen, formerly in the Cicogna Mozzoni collection, Milan.¹

1.  F. Zeri, Diario di Lavoro, Tu༒rin 1976, p. 48, repro🐬duced figs. 41 and 43 in detail.