PROPERTY FROM A PRIVATE COLLECTION
Giovanni di Tano Fei (The Master of 1399)
THE MADONNA AND CHILD
Lotto. Venduto
49,250 GBP
(Prezzo di aggiudicazione con commissione d'acquisto)
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Giovanni di Tano Fei (The Master of 1399)
ACTIVE IN FLORENCE CIRCA 1385 - 1420S
THE MADONNA AND CHILD
tempera on panel, gold ground, pointed top, in an engaged tabernacle frame
overall: 115.5 by 56.5 cm.; 45 1/2 by 22 1/4 in.
painted surface: 89 by 45 cm.; 35 by 17 3/4 in.
Leggi la scheda di conservazione
Leggi la scheda di conservazione
overall: 115.5 by 56.5 cm.; 45 1/2 by 22 1/4 in.
painted surface: 89 by 45 cm.; 35 by 17 3/4 in.
Bibliografia
E. Merciai, "Il probabile Giovanni di Tano Fei: un interprete bizzarro del gotico internazionale a Firenze", in Arte Cristiana, XCI, 815, March - April 2003, pp. 81-82, reproduced p. 83, fig. 8 (as Giovanni di Tano Fei (?)).
Nota a catalogo
Giovanni di Tano Fei, a satellite of Agnolo Gaddi, was formerly known as the Master of 1399, a name coined by Miklós Boskovits, as well as the Metropolitan Master of 1394, a name used by Richard Offner.1 Both nomenclatures derive from his only two dated paintings, one in the Metropolitan Museum of Art, New York, and the other in the Ospedale Serristori in Figline Valdarno. It was Boskovits who first identified the artist as Giovanni di Tano Fei, a proposal which has generally been accepted by scholars.
Dated to the 1390s by Merciai (see Literature), the panel should be compared stylistically to another Madonna dell'Umiltà in the Acton Collection, Florence.2 The presence of a tentative question mark in Merciai's text does not cast doubt on the attribution so much as point out that there is still some uncertainty over the identification of the artist as Giovanni di Tano Fei.
The attribution of the panel was first proposed by Everett Fahy.
1. See M. Boskovits, Pittura fiorentina alla vigilia dle Rinascimento, 1375-1400, Florence 1975, p. 359-62, reproduced figs. 426-438; and R. Offner, A Legacy of Attributions, in Corpus of Florentine Painting - Supplement, New York 1981, pp. 58-59.
2. See Boskovits, op. cit., p. 360, reproduced fig. 430.
Dated to the 1390s by Merciai (see Literature), the panel should be compared stylistically to another Madonna dell'Umiltà in the Acton Collection, Florence.2 The presence of a tentative question mark in Merciai's text does not cast doubt on the attribution so much as point out that there is still some uncertainty over the identification of the artist as Giovanni di Tano Fei.
The attribution of the panel was first proposed by Everett Fahy.
1. See M. Boskovits, Pittura fiorentina alla vigilia dle Rinascimento, 1375-1400, Florence 1975, p. 359-62, reproduced figs. 426-438; and R. Offner, A Legacy of Attributions, in Corpus of Florentine Painting - Supplement, New York 1981, pp. 58-59.
2. See Boskovits, op. cit., p. 360, reproduced fig. 430.
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