104
104

PROPERTY FROM A EUROPEAN PRIVATE COLLECTION

Master of the Christ Church Coronation
THE MADONNA AND CHILD ENTHRONED BETWEEN SAINTS JOHN THE BAPTIST AND CLEMENT, WITH TWO ANGELS, IN THE PINNACLE ABOVE THE FIGURE OF CHRIST
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104

PROPERTY FROM A EUROPEAN PRIVATE COLLECTION

Master of the Christ Church Coronation
THE MADONNA AND CHILD ENTHRONED BETWEEN SAINTS JOHN THE BAPTIST AND CLEMENT, WITH TWO ANGELS, IN THE PINNACLE ABOVE THE FIGURE OF CHRIST
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Dagger
Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. In France the reduced rate is applied where the item is defined as a book for VAT purposes. In Australia GST is charged at the standard rate on both hammer price and premium.
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Details & Cataloguing

Old Masters Day Sale

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Master of the Christ Church Coronation
ACTIVE IN TUSCANY IN THE SECOND HALF OF THE 14TH CENTURY
THE MADONNA AND CHILD ENTHRONED BETWEEN SAINTS JOHN THE BAPTIST AND CLEMENT, WITH TWO ANGELS, IN THE PINNACLE ABOVE THE FIGURE OF CHRIST
tempera on panel, gold ground, arched top
main panel, painted surface: 127 x 72 cm.; 50 x 28 1/4  in.
overall (with frame): 173.5 x 81.5 cm.; 68 1/4  x 32 1/8  in.
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Provenance

Probably commisioned from the artist by one of the Capitani of the Church of Orsanmichele in Florence (see note below);
Purchased in 1872 or 1873 in Edinburgh by James Reddie Anderson (b. 1854) of Keswick, Cumberland;
Upon whose death sold by order of his daughter, London, Sotheby's, 4 April 1948, lot 123, where offered as 'Florentine School, about 1360', as a triptych, the two dispersed wings depicting Saints Catherine and Lucy, and Saints Lawrence and James the Greater;
Private collection, Italy;
Acquired by the father of the present owner;
Thence by descent.

Literature

M. Boskovits, Pittura Fiorentina alla vigilia del Rinascimento 1370–1400, Florence 1975, p. 212, reproduced fig. 156;
C. Scalella, 'Contributi alla pittura fiorentina del secondo Trecento: il "Maestro dell'Incoronazione della Christ Church Gallery"', in Arte cristiana, 2001, 89, p. 121, reproduced p. 128, pl. 15b.

Catalogue Note

The Master takes his name from a Coronation of the Virgin in the Christ Church Picture Gallery, Oxford.1 A catalogue of his œuvre was first proposed by Offner, subsequently enlarged by Federico Zeri and further expanded by Boskovits.2 A triptych inscribed on the frame by the artist and dated 1373 was formerly at the Musée de la Bénédictine in Fécamp. It was the only known dated work but removal of the old frame after the work was offered at auction in 1995 has meant this is no longer visible.3 Scalella proposes a similar date of execution for the present work (see Literature).

Boskovits lists the Master as a satellite of Andrea di Cione, known as Orcagna, and suggests that he may well have collaborated with him on occasions. Certainly the spatial arrangement looks back to the work of the Cione brothers, as does the interest in the different decoration which lines the curtain held up by the two angels, as well as the details of the lining of Saint Clement's red cloak. A similarly wide range of decoration can be found in another Coronation of the Virgin, in the Kress Collection, Philbrook Art Center, Tulsa, Oklahoma.4

The initials OSM appear twice in the pinnacle of the frame. They refer to the church of Orsanmichele in Florence, suggesting that the work was commissioned for that church, probably by one of the Capitani. When sold in 1948 the panel was the central section of a triptych (see Provenance). The side panels, which Scalella records as already being dismembered by 1952, were sold Milan, Finarte, 27 October 1987, lot 78, and are now in a private collection, Italy.

1 See J. Byam Shaw, Paintings by Old Masters at Christ Church, Oxford, Oxford 1967, pp. 3334, cat. no. 7, reproduced pl. 9 (as Florentine School, circa 1360).
2 See Boskovits 1975 for a list of the works given to the artist by Zeri as well as his own attributions. Scalella offers the most up-to-date list of his works (Scalella 2001). A report by Roberto Longhi from 1952, filed in the archives of the Corpus of Florentine Painting, attributes the work to Puccio di Simone and dates it to the 1340s or 1350s.
3 See Scalella 2001, p. 117, reproduced p. 119, figs 2 and 3.
4 F. Rusk Shapley, Paintings from the Samuel H. Kress Collection, London 1966, pp. 3233, cat. no. 64, reproduced fig. 72, where listed as a follower of Orcagna, but subsequently attributed to the Master of the Christ Church Coronation by Boskovits.

Old Masters Day Sale

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