Jacopo Chimenti, called Jacopo da Empoli

Sale, London, Christie's, 17 February 1959, part of lot 71, bought by P & D Colnaghi,
from whom purchased by Ralph Holland, March 1959

Newcastle, 1960, no. 10 (as Attributed to Francesco Vanni);
Newcastle, 1974, no. 14 (as Florentine School, c. 1560-1590);
London, 1975, no. 17 (as Florentine School, c. 1560-1590);
Newcastle, 1982, no. 24, reproduced pl. VII A

Window mounted. At the bottom left a square section of the corner missing and made up. Once glued around all margins, staining from the glue are visible on the verso but this has discolored a bit the edges on the recto to a slightly darker tinge. Once folded in the middle. A few light brown stains scattered and some surface dirt. Chalk still fresh and in good condition.
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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."

In his exhibition catalogue of 1982, Ralph Holland noted that the attribution was first suggested by James Byam Shaw in 1975.  This proposal was confirmed when Mr. Holland connected these studies to Empoli's altarpiece of 1599 in the Duomo, Pontedera (fig. 1).  Marabottini writes that the altarpiece at Pontedera is the first version of the subject and not a replica of the canvas in Santa Trinità, as previously suggested.¹  It was most probably made for the Cepperello family, whose name is legible on the Madonna's kneeling-stool, but its original location is unknown.  In addition to a painted bozzetto in the Museo Diocesiano of San Miniato², three other preparatory drawings for this painting have survived.  The first is a finished study for the whole composition in pen and ink and blue wash, from the 'Fondo Corsini' (inv. no. 130633), now in the Gabinetto Nazionale delle Stampe Rome (fig. 2).  The others are studies for the Madonna, and for the Angel, respectively in the Uffizi and Stuttgart, Graphische Sammlung der Staatsgalerie.³  Marabottini mentions other studies in the Louvre as possibly studio or later replicas, but one of them seems very likely a late, but autograph, ricordo of the entire composition.⁴

1. A. Marabottini, L' Empoli, Rome 1988, p. 195, no. 31
2. Ibid., no. 31a
3. Inv. nos. respectively: 9345F, 6253; ibid., nos. 31b and 31c
4. Inv. no. 8205