Luca di Tommè
- Luca di TommÃ¨
- Christ blessing
- tempera on panel, gold ground, with a shaped top, the corners of which are made up
- overall: 16 1/4 by 10 3/4 in.; 41.1 by 27.1 cm.
painted surface: 15 by 9 7/8 in.; 38.1 by 25 cm.
From where removed, along with the rest of the altarpiece, to the Capuchin convent of San Quirico, Ossena;
From where detached from the altarpiece and passed to Jean Anton Ramboux, Cologne, by 1862;
His sale, Cologne, J.M. Heberle (H. Lempertz), 23 May 1867, lot 105 (as Taddeo di Bartolo);
Wallraf-Richartz Museum, Cologne, by 1889 and by whom sold in 1925;
With Ehrlich Galleries, New York, in 1926;
Anonymous sale, ("The Property of a Private Collector"), New York, Christie's, 31 May 1991, lot 11;
Anonymous sale, New York, Sotheby's, 25 January 2001, lot 1;
There purchased by the present collector.
J. Niessen, Verzeichniss der Gemälde-Sammlung des Museums Wallraf-Richartz in Köln, Cologne 1869 (reprinted 1873, 1874, 1877 and 1888), p. 40, cat. no. 767 (as Taddeo di Bartolo);
H. Thode, "Pitture di maestri italiani nelle galerie minori di Germania," in Archivio storico dell'arte, vol. II, 1889, p. 51 (as Taddeo di Bartolo);
F. Mason Perkins, "Appunti sulla mostra Ducciana a Siena," in Rassegna d'Arte, vol. XIII, 1913, p. 38, cat. no. 4 (as a contemporary follower of Bartolo di Fredi or Luca di Tommè);
B. Berenson, "Quadri senza casa: Il Trecento senese," in Dedalo, vol. XI, 1930, p. 263, reproduced p. 266 (as Niccolò di Segna);
B. Berensen, "The Missing Pictures of the Sienese Trecento," in International Studio, vol. 97, October 1931, p. 31, reproduced fig. 2 (as Niccolò di Segna);
B. Berenson, Homeless Paintings of the Renaissance, Bloomington 1970, pp. 20-21 and 244, reproduced fig. 10 (as Niccolò di Segna);
J.H. Stubblebine, Duccio di Buoninsegna and his school, Princeton 1979, vol. I, p. 154, reproduced vol. II, fig. 486 (as Niccolò di Segna);
S.A. Fehm, Luca di Tommé, A Sienese Fourteenth Century Painter, Carbondale 1986, pp. 35 and 101, reproduced figs. 23-1 and 23-2 (as Luca di Tommé).
Sherwood Fehm (see Literature) identified the Blessing Christ as belonging to the Siena altarpiece in 1986, matching the width of the present panel with that of the Madonna and Child and recognizing the punch work in Christ’s drapery as corresponding with that in the relating panels. Why the Blessing Christ should have been removed when the other pinnacles remained in place is something of a mystery. The altarpiece was presumably intact when it was moved from its original location in the church of Santa Mustiola alla Rosa, Siena to the Capuchin convent of San Quirico, Ossena (see Provenance). Yet, while the polyptych remained at Ossena until at least 1867, the Blessing Christ was separated from it and by 1862 was in the collection of the artist and connoisseur, Jean Anton Ramboux (see Provenance). The rest of the altarpiece, meanwhile, found its way into Siena's Pinacoteca Nazionale by 1872.
Like the other Siena pinnacles, the Blessing Christ originally had an acutely pointed top, whose edge cropped in close to the figure’s shoulders and head, leaving only a small part of the halo visible. At either side of the triangular point, the wood along the two edges of the point would have been exposed, intended to be covered by its framing element. The original angle of the pointed top is still perceptible but was later made up with additions to reformat the panel into an arched shape and the halo was extended with similar punch tooling. The alterations may have been carried out in an attempt to match the arch-tops of the four saints by Niccolò di Segna with which the Blessing Christ was rather unharmoniously married to form a contrived altarpiece while in the Ramboux collection. The five panels were acquired in that format by the Walraff-Richartz Musuem, Cologne but were divided following their deaccession in 1925 (see Provenance).3
1. S.A. Fehm, under Literature, pp. 98-100, cat. no. 22, reproduced plate 22-1 and in detail plate 22-2, 22-3, 22-4 and 22-5.
2. Ibid., p. 35.
3. Ibid., p. 35, note 22.