In the collection of the father of the present owner by 1965;
Thence by descent.
G. Freuler (M. Boskovits ed.), 'Tendencies of Gothic in Florence; Don Silverstro Dei Gheraducci', in R. Offner and K. Steinweg, A Critical and Historical Corpus of Florentine Painting, Florence 1997, section IV, vol. VII, part II, p. 315 (as refuting the attribution to Silvestro dei Gherarducci and instead suggesting an artist close to Antonio Veneziano, but noting that Boskovits maintains his attribution to Gherarducci);
J. Sander, Kult Bild : das Altar und Andachtsbild von Duccio bis Perugino, exh. cat., Frankfurt 2006, p. 305, cat. no. 62, reproduced p. 249, pl. 71 (as Silvestro dei Gherarducci).
This charming triptych is likely to have been commissioned for private use and its small size will have ensured portability for an owner to worship whilst travelling, or for ease of carrying whilst on pilgrimage. Boskovits was the first to publish it as the work of Gherarducci in 1975; it was an attribution that he maintained despite other scholars' omission of the triptych from Gheraducci's œuvre (see Freuler 1997 in Literature).
An alternative attribution to the Bolognese painter Simone dei Crocifissi (c. 1330-1399) has also been suggested. Simone, along with his nephew Jacopo di Paolo and his son-in-law Michele di Matteo da Bologna, dominated much of the market in Bologna following the death of Vitale da Bologna in 1369. It is thought that the dominance of his family, together with the distinctive political and social character of the city was probably responsible for the extreme conservatism of Bolognese art for much of the next century. The present triptych is listed on the Fondazione Zeri archive as by an anonymous Emilian artist.
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale