View full screen - View 1 of Lot 2. The Virgin and Child with the young Saint John the Baptist and an angel | 《聖母與聖嬰、少年施洗者聖約翰及天使》.
2

Mariotto Albertinelli and Giuliano Bugiardini

The Virgin and Child with the young Saint John the Baptist and an angel | 《聖母與聖嬰、少年施洗者聖約翰及天使》

Estimate:

100,000

to
- 150,000 GBP

The Property of a European Private Collector | 歐洲私人收藏

Mariotto Albertinelli and Giuliano Bugiardini

Mariotto Albertinelli and Giuliano Bugiardini

The Virgin and Child with the young Saint John the Baptist and an angel | 《聖母與聖嬰、少年施洗者聖約翰及天使》

The Virgin and Child with the young Saint John the Baptist and an angel | 《聖母與聖嬰、少年施洗者聖約翰及天使》

Estimate:

100,000

to
- 150,000 GBP

Lot sold:

126,000

GBP

The Property of a European Private Collector

歐洲私人收藏

Mariotto Albertinelli

Florence 1474 - 1515

and

Giuliano Bugiardini

Florence 1475 - 1554

The Virgin and Child with the young Saint John the Baptist and an angel

《聖母與聖嬰、少年施洗者聖約翰及天使》


oil, tempera and gold on panel

油彩、蛋彩及金箔畫板

97.8 x 76.8 cm.; 38 1/2 x 30 1/4 in.

97.8 x 76.8 公分;38 ½ x 30 ¼ 英寸

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


Mariotto Albertinelli and Giuliano Bugiardini

The Virgin and Child with the young Saint John the Baptist and an angel

Oil on panel, in an ornate gilt tabernacle frame with some wear.


The soft wood panel is in a good state of preservation; it has two evenly spaced stable vertical joins visible to the reverse and evidence of historic wood worm infestation. The panel is stable and flat. The paint layer is stable and secure. There are vertical hairline fractures to the paint surface varying in length from 10cm to one running the length of the panel, with minor associated paint loss. In raking light areas of the paint surface are raised but stable, this is particularly noticeable in the sky where a raised gridded pattern of pale ground craquelure has developed and been mitigated by restoration; the applied restoration is unsympathetic and insensitive and has discoloured. Overall, the paint layer is in a good preserved original condition. Under u-v light strengthening of the angel's left wing tip, the eye of St. John, the shadows within his and Christ's skin tones and the Madonna's blue mantle can be seen. The Madonna's skin tones to her face are very well preserved with only a small reduction of a cluster of dark shrinkage cracks to her cheek. Fine details including the angel's eyelashes, hair and crisp folds of his dress are in very good original condition. The green of the Madonna's cloak and the landscape over her left shoulder are in a good state and much of the sky is in original condition. Chromatic and tonal nuances are well preserved. Removal of discoloured and unsympathetic restoration and a degraded varnish would enhance the image.


"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."

Possibly Gonzaga collection, Dukes of Mantua, Mantua;

Conte Gaetano Susanni, Mantua, by 1827, until 1868;

Paris, Hôtel Drouot, 28 February 1868, lot no. 37 (as Francesco Francia);

Alfredo Omfray, Naples, by 1871;

Mme Baude Collection, Paris, by 1891, until 1894;

With T. Lawrie and Co., London, 1894–96, by whom sold to

Theodore M. Davis, Newport, Rhode Island, by whose estate bequeathed in 1930 to

The Metropolitan Museum of Art (inv. 30.95.270), New York, until 2014;

By whom offered in the Renaissance sale (‘Property from the Metropolitan Museum of Art, sold to benefit the European Paintings Aquisitions Fund’), New York, Christie’s, 29 January 2014, lot 103, unsold;

Acquired after the sale by the present owner. 

Monumenti di pittura e scultura trascelti in Mantova e nel suo territorio, Mantua 1827, pp. 1–2, reproduced pl. I (as Francesco Francia);

O. Mündler in C.T. Dowd (ed.), The Travel Diaries of Otto Mündler, 1855–1858, Walpole Society, LI, 1885, p. 155, entry from 27 May 1857 (as Sogliani);

J.A. Crowe and G.B. Cavalcaselle, A History of Painting in Italy from the Second to the Fourteenth Century, London 1866, III, pp. 498–99, n. 5 (as Bugiardini);

E.B. Andrews, ‘Journal entry, 1 May 1897’, in A Journal on the Bedawin, 1889–1912, New York 1918;

J. Breck, ‘Dipinti italiani nella raccolta del Signor Teodoro Davis’, in Rassegna d’arte, XI, July 1911, pp. 114–15 (as Bugiardini);

J.A. Crowe and G.B. Cavalcaselle, A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century, London 1914, VI, pp. 119–20, n. 1 (as Bugiardini);

L. Dami, Vita di Giuliano Bugiardini, Florence 1915, p. 36 (as Bugiardini?);

A. Venturi, ‘La pittura del cinquecento’, in Storia dell’arte italiana, IX, 9, Milan 1925, I, p. 426, n. 1 (as Bugiardini);

B. Burroughs, ‘The Theodore M. Davis Bequest: The Paintings’, in The Metropolitan Museum of Art Bulletin, XXVI, 2, March 1931, pp. 14 and 16 (as Albertinelli);

B. Berenson, Italian Pictures of the Renaissance, Oxford 1932, p. 119 (as Bugiardini);

B. Berenson, Pitture italiane del rinascimento, Milan 1936, p. 103 (as Bugiardini);

H.B. Wehle, The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings, New York 1940, p. 61 (as Albertinelli);

B. Berenson, Italian Pictures of the Renaissance: Florentine School, London 1963, I, p. 45 (as Bugiardini);

Art Journal, Spring 1968, reproduced fig. 5 (as Albertinelli); 

F. Zeri and E. Gardner, Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School, New York 1971, pp. 188–89, reproduced (as Albertinelli);

B.B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge 1972, pp. 4, 336 and 607 (as Albertinelli);

S. Meloni Trkulja, ‘Bugiardini, Giuliano’, in Dizionario biografico degli italiani, 15, Rome 1972, p. 16 (as Bugiardini);

L. Borgo, The Works of Mariotto Albertinelli, New York 1976, I, pp. 160–61, 300–02, no. 14, reproduced fig. 21 (as Albertinelli, possibly with assistance from Bugiardini);

K. Baetjer, European Paintings in the Metropolitan Museum of Art by artists born in or before 1865. A Summary Catalogue, 3 vols, New York 1980, vol. I, p. 3, vol. II, p. 36, reproduced (as Albertinelli);

L. Pagnotta, Giuliano Bugiardini, Turin 1987, pp. 28 and 195, no. 9, reproduced fig. 9 (as probably a collaboration between Albertinelli and Bugiardini);

A. Matteoli, ‘Un'inedita ‘Madonna’ di Giuliano Bugiardini’, in Storia dell’arte, May–August 2000, pp. 20 and 22, n. 13 (as Albertinelli and Bugiardini);

A. De Marchi, in Fonds d’or et fonds peints italiens (1300–1560), exh. cat., Galerie G. Sarti, Paris 2002, pp. 178, 182, 185–86 n. 6, 189, 190–91 n. 6, reproduced p. 180, fig. 1 (as Bugiardini; in fig. caption as Bugiardini and [or] Albertinelli); also anon. entry pp. 172, 174 and 177 (as Albertinelli or Albertinelli with Bugiardini).

London, Royal Academy of Arts, Winter Exhibition, January–March 1891 (as Francia);

Trenton, State of New Jersey Museum, Christmas Exhibition, December 1948–January 1949;

Winter Park, Morse Museum of American Art, Christmas Exhibition, December 1952–January 1953;

Stamford, Stamford Museum, Christmas Exhibition, December 1954;

New York, The Metropolitan Museum of Art, Florentine Paintings in the Metropolitan Museum, June–August 1971.