NICCOLÒ DI PIETRO GERINIChrist on the Cross with the Madonna, Saint John and Mary Magdalene
- Christ on the Cross with the Madonna, Saint John and Mary Magdalene
- tempera on panel, gold ground, with an arched top
- 37.5 x 39 cm.; 14 3/4 x 15 3/8 in.
Kotzenberg collection, Frankfurt;
Private collection, Europe.
B. Berenson, 'Quadri senza casa – Il Trecento fiorentino,' in Dedalo, Milan and Rome 1932, vol. I, p. 20, reproduced p. 18 (as a follower of the Gerinis or Lorenzo Pietro Nelli);
B. Berenson, Homeless Paintings of the Renaissance, H. Kiel (ed.), London 1969, p. 134, reproduced p. 135, fig. 229;
R. Offner, Supplement to the Corpus of Florentine Painting. A Legacy of Attribution, H.B.J. Maginnis (ed.), New York 1981, p. 82 (as workshop of Gerini);
M. Boskovits, Pittura fiorentina alla vigilia del Rinascimento, Florence 1975, p. 410 (as Gerini).
By the late eighteenth century the painting was in the collection of the Florentine aristocrat and amateur art historian, Marchese Alfonso Tacoli Canacci. In 1790 Tacoli Canacci compiled a catalogue of his collection of 375 Tuscan paintings which he dedicated to King Charles IV of Spain, stating in the book's title page his intention to commit the collection itself into the hands of the king in the hope it would in turn be offered to the Royal Academy of Parma for the benefit of the public.3 The present painting was included in the catalogue and his label, affixed to the reverse of the panel, is inscribed: Etruria Pittrice / no. 28, with Tacoli Canacci's own attribution: Della prima maniera / Giotto di Bondone / (...) discepolo di Cimabue / nato nel 1276.1306.
Niccolò di Pietro Gerini worked predominantly in Florence but is also known to have completed commissions in Prato and Pisa. Believed to have trained in the workshop of Taddeo Gaddi, the artist closely followed models by Andrea di Cione, called Orcagna, and worked frequently with Andrea's brother, Jacopo di Cione. The majority of the artist's works are collaborations and identifying his hand among those of his partners is somewhat challenging, providing little comparative material for autograph works such as the present one.
In a letter dated 1 August 2011, the late Professor Miklòs Boskovits re-endorsed the attribution to Niccolò di Pietro Gerini on the basis of photographs.
1 See Berenson 1932, p. 20, reproduced p. 19.
2 See Boskovits 1975, and the Zeri Fototeca, under entry no. 3415 (with erroneous bibliography).
3 See Tacoli Canacci, 1790.