Studio of Luca Signorelli

Michel van Gelder, Zeecrabbe Castle, Uccle (near Brussels), by 1911;
Thence by descent to his widow, Mme van Gelder, Brussels;
Private Collection, New York.

Amsterdam, Stedelijk Museum, Italianansche Kunst in Nederlandsch Bezit, 1 July - 1 October 1934, no. 337, reproduced.

L. Dumont-Wilden, La Collection Michel Van Gelder au Château Zeecrabbe, Uccle, Brussels 1911, p. 14, reproduced on facing plate;
A. Venturi, "Per Luca Signorelli," in L'Arte, XXVIII, 1925, pp. 220-222, reproduced p. 220 (as an early work);
L. Dussler, Signorelli, Berlin and Leipzig 1927, p. 211 (listed among "Paintings of His School and Works Attributed to the Master"), reproduced p. 159;
A. Venturi, Studi dal vero attraverso le raccolte artistiche d'Europa, Milan 1927, pp. 111-113, reproduced fig. 64, p. 112;
G. Matthiae, "In margine all'esposizione d'arte italiana ad Amsterdam," in Rivista del R. Instituto d"Archeologia e Storia dell'Arte, V, nos. 1-2, 1935, pp. 220-221;
R. Van Marle, "La pittura all'esposizione d'arte antica italiana de Amsterdam," in Bolletino d'arte, XXVIII, January 1935, pp. 309, 313, note 27;
R. Van Marle, The Development of the Italian Schools of Painting, XVI, The Hague 1937, p. 97, reproduced fig. 59, p. 96;
M. Salmi, Luca Signorelli, Novara 1953, p. 63 (as by Signorelli with workshop assistance);
P. Scarpellini, Luca Signorelli, Florence 1964, p. 143 (as by Signorelli with workshop assistance and dating to circa 1500-1510);
B. Berenson, Italian Pictures of the Renaissance:  Central Italian and North Italian Schools, London 1968, vol. I, p. 400 (as by Signorelli with some workshop assistance);
F. Zeri, Italian Paintings in the Walters Art Gallery, Baltimore 1976, vol. I, p. 142, cited under no. 95 (as by Signorelli;
M. Seidel, "Signorelli um 1490," in Jahrbuch der Berliner Museen, XXVI, 1984, p. 255, note 203 (as by Luca Signorelli and workshop);
T.F.K. Henry, "The Career of Luca Signorelli in the 1490s," unpublished Ph.D. dissertation, University of London 1996, vol. I, p. 131 and notes 227, 228; vol. II, pp. 351-352, no. 25 (as by Luca Signorelli and workshop), reproduced fig. 83;
L.B. Kanter and T.F.K. Henry, Luca Signorelli:  The Complete Paintings, London 2001, pp. 183-184, no. 33; also cited pp. 116, 183, under no. 32; reproduced p. 184.

Panel has been cradled. under a dirty, old varnish. some very small losses can be seen at upper right and left corners, and at lower left corner. there is a heavy craquelure pattern most noticeable on the flesh areas. there are old filled losses to red gown which have discolored with age and now give an uneven appearance to the surface. there are also some old fills to the transparent white scarf. these old restorations do not fluoresce under ultraviolet light due to the the old varnish. however, there are some newer retouches that are visible on lower right side of hair and above her ear; two very small dots of repaint on blue drapery on right arm. there could be other older restorations under the old varnish, but it is difficult to tell. In an elaborately carved, painted and gilt tabernacle frame with chips and losses. the frame is topped with a carved eagle at center which does not appear in the catalogue or online images.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present painting appears to be the pendant to Signorelli's Archangel Gabriel, formerly in the Widener collection and now in the collection of the Walters Art Museum, Baltimore (inv. no. 37.520).  Zeri was the first to propose that these two paintings once formed a larger Annunciation group, and although the backgrounds do not match, this can likely be explained because the Virgin would have been depicted in a domestic interior, with Gabriel appearing to her outside, as in the Annunciation with the Martyrdom of Saint Sebastian in the Museo Diocesano, Camerino.  Here, the pose of the Virgin is particularly close to that of the Virgin in another Annunciation by Signorelli (Pinacoteca Civica, Volterra), which is signed and dated 1491, and was originally painted for an oratory attached to Volterra Cathedral dedicated to the Virgin Mary.  Based on the stylistic similarities, a date of circa 1490 - 1495 has also been suggested for the work in the Walters and for the present painting.