View full screen - View 1 of Lot 5.  Christ on the Cross adored by Saints Monica, Augustine, Mary Magdalen, Jerome and Bridget of Sweden | 《聖莫尼卡、聖奧古斯丁、聖瑪利亞・瑪達肋納、聖傑羅姆及瑞典聖畢哲敬拜十字架上的耶穌》.
5

Alessandro di Mariano Filipepi, called Sandro Botticelli

Christ on the Cross adored by Saints Monica, Augustine, Mary Magdalen, Jerome and Bridget of Sweden | 《聖莫尼卡、聖奧古斯丁、聖瑪利亞・瑪達肋納、聖傑羅姆及瑞典聖畢哲敬拜十字架上的耶穌》

VAT reduced rateIrrevocable BidsGuaranteed Property

Estimate:

800,000

to
- 1,200,000 GBP

Property from an Important Private Collection | 重要私人收藏

Alessandro di Mariano Filipepi, called Sandro Botticelli

Alessandro di Mariano Filipepi, called Sandro Botticelli

Christ on the Cross adored by Saints Monica, Augustine, Mary Magdalen, Jerome and Bridget of Sweden | 《聖莫尼卡、聖奧古斯丁、聖瑪利亞・瑪達肋納、聖傑羅姆及瑞典聖畢哲敬拜十字架上的耶穌》

Christ on the Cross adored by Saints Monica, Augustine, Mary Magdalen, Jerome and Bridget of Sweden | 《聖莫尼卡、聖奧古斯丁、聖瑪利亞・瑪達肋納、聖傑羅姆及瑞典聖畢哲敬拜十字架上的耶穌》

Estimate:

800,000

to
- 1,200,000 GBP

Lot sold:

1,043,500

GBP

Property from an Important Private Collection

重要私人收藏

Alessandro di Mariano Filipepi, called Sandro Botticelli

Florence 1445 - 1510

阿里桑德羅・迪・馬里亞諾・菲利佩皮,或稱桑德羅・波提切利

 Christ on the Cross adored by Saints Monica, Augustine, Mary Magdalen, Jerome and Bridget of Sweden

《聖莫尼卡、聖奧古斯丁、聖瑪利亞・瑪達肋納、聖傑羅姆及瑞典聖畢哲敬拜十字架上的耶穌》


oil on panel

油彩畫板

76.2 x 91.4 cm.; 30 x 36 in.

76.2 x 91.4 公分;30 x 36 英寸

The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:


Sandro Botticelli

Christ on the Cross adored by Saints Monica, Augustine, Mary Magdalen, Jerome and Bridget of Sweden

Oil on panel, in a gilt wood frame in good condition


It was not possible to view the reverse of the panel.


The panel is stable.


There are some horizontal fractures visible through the paint layer; one from the top left through the sky, one horizontally clipping the top of the tower on the left and one running the width of the panel through the kneeling figures. There is minor repaired paint loss along the fractures.


The paint layer is in a secure and stable condition.


Scattered retouchings can be detected across the sky, visible under u-v lighting, to replace minor loss and to mitigate dark spotting in this area.

 

Remnants of original gilding are retained in the halos and to the edge of St Francis’ cloak.

 

The paint to the figures, the landscape and the foreground is in good preserved condition with fine details intact and paint texture retained.

 

The black background behind Christ has been significantly strengthened to reduce some thinness and sketchiness.

 

Chromatic integrity and tonal values are well preserved.

 

"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."

This lot has been guaranteed at minimum price. Please refer to the printed catalogue for information on guaranteed property. Please note that this lot is subject to an irrevocable bid. Please refer to the printed catalogue for information on irrevocable bids.

Alexis-François Artaud de Montor (1772–1849), Paris, by circa 1808–11;

His deceased sale, Paris, Place de Bourse, 16–17 January 1851, lot 146 (as Ghirlandaio);

Georges Chalandon (d. 1916), Paris and Parcieux (as recorded by Herbert Horne);

With Wildenstein & Co., New York, by 1926, until at least 1974;

Anonymous sale, New York, Christie's, 24 January 2003, lot 75 (as the Master of Apollo and Daphne; with a saleroom notice stating that Mr Everett Fahy believes this is a late work by Botticelli, and presumably, his workshop, though he cannot point to any passage executed by an assistant; written communication, 19 December 2002);

Where acquired by the present owner. 

A.F. Artaud de Montor, Considérations sur l'état de la peinture en Italie, dans les quatre siècles qui ont précédé celui de Raphael; suivi du catalogue raisonné d'une collection de 150 tableaux, Paris 1811, p. 113, no. 146, (as Domenico Ghirlandaio);

P.M. Gault de Saint-Germain, Guide des amateurs de peinture: Ecôle italienne, Paris 1835, p. 65 (as Domenico Ghirlandaio);

A.F. Artaud de Montor, Peintres primitifs: Collection de tableaux rapportée d'Italie, Paris 1843, pp. 49 and 56. no. 146, engraved pl. 59 (as Domenico Ghirlandaio);

A. Schmarsow, ‘Maîtres italiens à la galerie d'Altenburg et dans la collection A. de Montor’, Gazette des Beaux-Arts, 3e phr., XX, no. 498, December 1898, pp. 509–10 n. 1 (as by a late imitator of Botticelli);

H. Mackowsky, ‘Jacopo del Sellaio’, Jahrbuch der Preußischen Kunstsammlungen, XX, 1899, p. 279 (as Jacopo del Sellaio);

B. Berenson, ‘Alunno di Domenico’, The Burlington Magazine, I, 1, March 1903, p. 17 n. 1 (as Bartolommeo di Giovanni);

R. Van Marle, The Development of Italian Schools of Painting, XII, The Hague 1931, pp. 409–10 and 413 (as Jacopo del Sellaio);

B. Berenson, The Drawings of the Florentine Painters, Chicago 1938, vol. I, p. 127 n. 1 (as Bartolommeo di Giovanni);

B. Berenson, Italian Pictures of the Renaissance: Florentine School, London 1963, vol. I, p. 26, vol. II, reproduced pl. 1130 (as Bartolommeo di Giovanni);

P. Bacci, Piero di Cosimo, Milan 1966, p. 132 (as erroneously attributed to Piero di Cosimo);

V.L. Ebersman, ‘Notes on the Dispersion and Attributes of Several Paintings in the 1843 Artaud de Montor catalogue raisonné’, in Artaud de Montor and the Italian Primitives, unpublished M.A. thesis, Institute of Fine Arts, New York University, New York, 1966, Book 2, Appendix A, p. 242;

E. Fahy, ‘The Master of Apollo and Daphne’, in The Art Institute of Chicago: Museum Studies, 1968, no. 3, pp. 31, 40, no. 22 (as the Master of the Apollo and Daphne);

E. Fahy, ‘Bartolommeo di Giovanni Reconsidered’, Apollo, XCVII, 135, May 1973, p. 469, Appendix B (as the Master of Apollo and Daphne);

E. Fahy, Some Followers of Domenico Ghirlandaio, New York and London 1976, pp. 19, 85 n. 56, 111, no. 24 (as the Master of Apollo and Daphne);

H.P. Horne, Alessandro Filipepi, commonly called Sandro Botticelli, painter of Florence, Florence 1987 (rev. ed., C. Caneva), Appendix III, ‘Catalogue of the works of Sandro Botticelli, and of his disciples and imitators [...], in the public and private collections of Europe and America’, p. 75 (as school of Botticelli);

G. Sarti, Trente-trois primitifs italiens de 1310 à 1500: du Sacré au Profane, Paris 1997–98, pp. 205 and 213, under no. 33 (as the Master of Apollo and Daphne; location unknown);

A. Mazzotta, in G. Agosti (ed.), Altri quaranta dipinti antichi della Collezione Saibene, Verona 2008, p. 147 ff., under no. 20, reproduced p. 148, fig. 30 (as Botticelli); 

A. Staderini, in The Alana Collection, Newark, Delaware, vol. III, Italian Paintings from the 14th to 16th Century, S. Chiodo and S. Padovani (eds), Florence 2014, pp. 14–18, no. 3, reproduced (as a late work by Botticelli);

C. Daly, in Chefs-d'œuvre de la peinture italienne: la collection Alana, exh. cat., Paris 2019, pp. 138–39, no. 45, reproduced (as Master of the Gothic Buildings, a collaborator of Botticelli).

New York, Brooklyn Museum, An Exhibition of European Art, 1450–1550, 8 May – 6 June 1936, no. 8 (as possibly by Piero di Cosimo);

Paris, Musée Jacquemart-André, Chefs-d'œuvre de la peinture italienne: la collection Alana, 13 September 2019 – 20 January 2020, no. 45 (as Master of the Gothic Buildings).