View full screen - View 1 of Lot 24. FOLLOWER OF ANDREA DEL SARTO | MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST.
24

FOLLOWER OF ANDREA DEL SARTO | MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST

Estimate:

8,000

to
- 12,000 USD

Property of a New York Private Collector

FOLLOWER OF ANDREA DEL SARTO | MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST

FOLLOWER OF ANDREA DEL SARTO | MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST

Estimate:

8,000

to
- 12,000 USD

Lot sold:

27,500

USD

Property of a New York Private Collector

FOLLOWER OF ANDREA DEL SARTO

MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST


oil on panel

panel: 31 by 24 in.; 78.7 by 61 cm.

framed: 38¼by 32¼ in.; 97.2 by 81.9 cm. 

The panel consists of a single plank and is flat and stable. It is beveled on the right edge of the reverse and supported by 2 horizontal cross beams.The image reads well beneath a darkened varnish. Fan shaped cracking to the panel and to the paint layer at the right edge about 12 inches from bottom is visible to the naked eye. A small pigment loss is visible below St. John's arm. The paint layer has begun to blister in the upper right background, upper left background, and lower left in the shadow of Mary's cloak. Under UV inspection, a thick, milky varnish is difficult to read through but retouching is visible in scattered small spots of shadows, many of which are visible to the naked eye as discolored shadows. Further retouching beneath the varnish is obscured. We recommend consulting a professional restorer for advice on cleaning or restoration to this early 16th century work. Offered in a decoratively carved and painted black and giltwood frame.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

David Goldmann, Vienna and New York, by 1938;

Confiscated by the Nazi authorities after March 1938 (inv. no. DG 23), stored at the Zentral-Depot, Vienna, and allocated for Kunstmuseum Linz, 6 June 1941 (inv. no. 2643), as by Italian Master, 16th century and stored at Kremsmünster Abbey (inv. K 1474);

Recovered by Monuments Officers and removed to the Munich Central Collecting Point (inventory no. 2480) and thereafter restituted to David Goldmann;

Thence by descent to present owner.

This charming devotional image is an early period copy of a lost composition by Andrea del Sarto. Motifs have also been derived from other extant autograph works by Andrea. The arrangement of the three figures is loosely based on Andrea's Madonna della Scala (1522, Museo del Prado, Madrid), in which the Madonna holds the infant Jesus standing on her lap, and he reaches out in the same way toward a kneeling angel.1 A later version in the North Carolina Museum of Art, likely painted with studio assistance, is closer to our painting in that it features the same three figures in a spare interior, though the Madonna lifts her veil with her right hand as she does in the Prado picture.2 The North Carolina painting has a more horizontal composition and a window in the background, and Jesus and St. John both hold onto St. John's cross. In the present painting, the Madonna embraces her son with both hands, and looks down at a sharper angle toward St. John, in accordance with the vertical composition. Here, St. John hands Jesus a shell, prefiguring the baptism he would perform on his cousin later in life, which is often depicted with St. John the Baptist using a shell to pour water over Christ's head.


1. Andrea del Sarto, Madonna della Scala, 1522, oil on panel, 177 by 135 cm. Museo del Prado, Madrid. https://www.museodelprado.es/en/the-collection/art-work/the-virgin-and-child-between-saint-matthew-and-an/8758e086-97a1-4741-96ce-482e15bddbb5?searchid=168d98a2-a18a-e55c-5931-6161a224ecd3


2. Andrea del Sarto and assistants, Madonna and Child with Saint John the Baptist, c. 1528, oil on panel, 58.4 by 62.2 cm. North Carolina Museum of Art, Raleigh, 52.9.167. https://ncartmuseum.org/art/detail/madonna_and_child_with_saint_john_the_baptist