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THE PROPERTY OF A GENTLEMAN

Antonius Magister
MADONNA OF HUMILITY
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Irrevocable Bids
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Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
80,000120,000
LOT SOLD. 150,000 GBP
JUMP TO LOT
1

THE PROPERTY OF A GENTLEMAN

Antonius Magister
MADONNA OF HUMILITY
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.
Double Dagger
Indicates that the lot is being sold whilst subject to Temporary Importation, and that VAT is due at the reduced rate
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
80,000120,000
LOT SOLD. 150,000 GBP
JUMP TO LOT

Details & Cataloguing

Old Masters Evening Sale

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London

Antonius Magister
ACTIVE LE MARCHE, EARLY 14TH CENTURY
MADONNA OF HUMILITY
tempera and gold on panel, shaped top
131 x 98.5 cm.; 51 1/2  x 38 3/4  in.
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Provenance

In the collection of the father of the present owner by 1965;

Thence by inheritance.

Literature

M. Boskovits, ‘Il problema di Antonius Magister e qualche osservazione sulla pittura marchigiana del Trecento’, Arte illustrata, nos 17–18, 1969, pp. 4–19, reproduced, fig. 2;

M.S. Frinta, Punched Decoration on Late Medieval Panel and Miniature Painting, Part I Catalogue Raisonné of All Punch Shapes, Prague 1998, pp. 96, 215, 353 and 426.

Catalogue Note

Miklòs Boskovits published this rare and well-preserved painting in an article on the activity of Antonius magister, whose name derives from a misreading of a ‘signature’ (in fact an altered inscription) on a very similar but damaged painting of the Madonna of Humility at the Galleria Nazionale delle Marche, in Urbino.1

In connecting the latter work with the present painting – a depiction of the same subject treated in an almost identical way – Boskovits recognised this Madonna of Humility as a work by the same hand as the Urbino Madonna. The poses of the Madonna nursing the Christ Child correspond in both panels, although the backgrounds differ. The principal point of disparity between the two is that the work under discussion is in near perfect state whereas the work in Urbino has suffered considerably.

In terms of its iconography and design the Madonna of Humility looks back to late Gothic prototypes by Simone Martini and others. The shape of the panel, with cut upper corners is of a rare type that does not occur in the second half of the fourteenth century. Boskovits dates this and the panel in Urbino to the late 1320s or early 1330s. He identifies its creator as the Bellpuig Master, whose later career in Spain was studied by Ferdinando Bologna, and thus refers to him as the Master of the Bellpuig Coronation rather than using the misnomer Antonius magister.2

According to Mojmír Frinta, the attribution is supported by the evidence of the punch work, to which he adds one further painting to the group.3 The latter, a fragment, is a Madonna and Child with two angels at the Brooklyn Museum, New York.4

1 Inv. 677. Reproduced in F. Bologna, ‘Di alcuni rapporti tra Italia e Spagna nel Trecento e ‘Antonius magister’’, Arte antica e moderna, 13–16, 1961, plate 14a.

2 Bologna 1961, pp. 27–48.

3 Written communication with the father of the present owner, 6 May 1975.

4 Acc. no. 34.841; 86.5 x 80.2 cm.

Old Masters Evening Sale

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