Lot 107
  • 107

ANTONIO DI PIETRO The Crucifixion with the Madonna, Saint John, Mary Magdelene and a donor; the Annunciation in the spandrels above

Estimate
60,000 - 80,000 GBP
Sold
100,000 GBP
bidding is closed

Description

  • Antonio di Pietro
  • The Crucifixion with the Madonna, Saint John, Mary Magdelene and a donor; the Annunciation in the spandrels above
  • tempera on panel, gold ground, the reverse painted in imitation porphyry
  • 76.5 x 52.5 cm.; 30 3/4  x 21 in.

Provenance

With E. & A. Silberman Galleries, New York, 1964.

Exhibited

Atlanta, Georgia, High Museum of Art, An Exhibition of Old Masters, 1941;
New Orleans, Louisiana, Isaac Delgado Museum of Art, Five Centuries of European Art, 1950;
Bologna, Mostra della Pittura Bolognese del Trecento, 1950, no. 123;
New York, E. & A. Silberman Galleries, An Exhibition of Old Masters from the Collections of the Washington County Museum of Fine Arts, Hagerstown, Maryland, and the E and A Silberman Galleries, for the Benefit of the Rudolph Steiner School, Inc., 6 – 27 May 1964, no. 2 (all the above as Jacopo Avanzi da Bologna).

Literature

Mostra della Pittura Bolognese del Trecento, exh. cat., Bologna 1950, cat. no. 123 (as Jacopo Avanzi da Bologna);
D. Benati, Jacopo Avanzi nel rinnovamento della pittura padana del secondo ‘300, Bologna 1992, p. 116, reproduced fig. 121, and p. 128, footnote 102 (as a late fourteenth century Venetian artist close to Martino da Verona);
A. De Marchi, 'De lapidibus sententiae', in Scritti in Onore di Giovanni Lorenzoni, Padua 2002, pp. 105–06, reproduced p. 473, fig. 1 and pp. 476–77, fig. 6 (as Antonio di Pietro da Verona).

Catalogue Note

Antonio di Pietro was a rare Gothic artist from Verona active predominantly in Padua. His paintings are often generically attributed to the circle of his uncle, the celebrated Altichiero, Verona's leading painter of the fourteenth century, but also to Jacopo Avanzi, with whom the present work was in the past associated. 

Professor Andrea De Marchi (see Literature) dates this intriguing panel to around 1410 and proposes convincingly that it is the central section of a dismembered polyptych, the original measurement of which would have been a little more than 80 x 110 cm. The six lateral panels, of approximately 27 x 27 cm., were stacked vertically in two groups of three, and depict episodes from the Passion. These were sold as three pairs in London, Christie's, 23 June 1967, lots 102–04, as North Italian School, circa 1350. The panel which depicts the Noli Me Tangere is now in the Museo Civico Amedeo Lia in La Spezia as by the circle of Altichiero, and another is in a private collection in Verona.1

We are grateful to Professor Andrea De Marchi for re-endorsing the attribution on the basis of digital images.

1 See F. Zeri and A.G. De Marchi, La Spezia, Museo civico Amedeo Lia, Dipinti, Milan 1997, pp. 28–31, cat. no. 4, reproduced. The other five panels are also reproduced.

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