View full screen - View 1 of Lot 101. ATTRIBUTED TO ANTONIO DI GUIDO 'ALBERTI' DA FERRARA | MADONNA OF HUMILITY BETWEEN FOUR ANGELS AND A KNEELING PRELATE.
101

ATTRIBUTED TO ANTONIO DI GUIDO 'ALBERTI' DA FERRARA | MADONNA OF HUMILITY BETWEEN FOUR ANGELS AND A KNEELING PRELATE

Estimate:

40,000 to - 60,000 USD

Property of a Private Collector

101

102

ATTRIBUTED TO ANTONIO DI GUIDO 'ALBERTI' DA FERRARA | MADONNA OF HUMILITY BETWEEN FOUR ANGELS AND A KNEELING PRELATE

ATTRIBUTED TO ANTONIO DI GUIDO 'ALBERTI' DA FERRARA | MADONNA OF HUMILITY BETWEEN FOUR ANGELS AND A KNEELING PRELATE

Estimate:

40,000 to - 60,000 USD

Lot sold:

44,100

USD

Property of a Private Collector

ATTRIBUTED TO ANTONIO DI GUIDO 'ALBERTI' DA FERRARA

Ferrara, documented 1418 - circa 1447-1449

MADONNA OF HUMILITY BETWEEN FOUR ANGELS AND A KNEELING PRELATE


tempera and gold ground on panel 

12⅛ by 11⅝ in.; 30.7 by 29.5 cm.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's.


This work is in a period incorporated frame. The frame may have received some careful repairs, but the gilding otherwise seems to be original. The reverse of the panel is unreinforced, and remnants of a collector's crest and what appears to be a painted design are visible. The gilding of the painting itself seems to have weakened but also appears to be original.

Under ultraviolet light, one can see that the left side of the cloak of the saint in the lower left has received restoration addressing some instability. There are a few small retouches in the blue gown of the Madonna, in her lap and in her shoulder on the right. The angels in the upper right and upper left seem to be in very good state. There are a few spots in the Child's red dress, and in the white fabric beneath his feet.

The work should be hung in its current state.


"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

With Stefano Bardini, Florence, by the late 19th century (as Simone Martini);

His sale, London, Christie's, 26-30 May 1902, lot 625 (as Simone Martini/Simon Memmi);

There acquired by Day;

Private collection, Devon, United Kingdom;

With Thomas Agnew & Sons, Ltd., London (as Jacobello de' Fiori);

Anonymous sale, London, Christie's, 8 December 1995, lot 64;

Anonymous sale, New York, Christie's, 24 January 2003, lot 26 (as Antonio Alberti da Ferrara);

There acquired.

Catalogue des objets d'art antiques, du moyen âge et de la renaissance, provenant de la collection Bardini de Florence, Paris 1902, p. 130, cat. no. 704, reproduced plate III;

C. De Benedictis, "La collezione di dipinti di Stefano Bardini o 'Il ratto d'Europa'" in Museo Bardini, 1984, p. 123, cat. no. 704 (as Lucchese School, 16th century);

E. Fahy, L'Archivio Storico Fotografico di Stefano Bardini: Dipinti, Disegni, Miniature, Stampe, Florence 2000, p. 50, cat. no. 433;

A. Marchi, Il Rinascimento, il Palazzo Ducale, Federico da Montefeltro, Fra' Carnevale, Urbino in Urbino 2005, p. 30, reproduced fig. 6;

M. Minardi, "Antonio di Guido da Ferrara, un suo sodale e altri fatti feltreschi," in Nuovi studi sulla pittura, 2008, p. 164;

M. Minardi, in The Alana Collection. Italian paintings and sculptures from the fourteenth to sixteenth century, M. Boskovits (ed.), vol. II, Florence 2011, pp. 22-26, cat. no. 4, reproduced (as Attributed to Antonio de Guido 'Alberti' da Ferrara).  

Paris, Palais de la Femme, Exposition Universelle, 1900 (as Simone Martini).