MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO  |  MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS
MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO  |  MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS
MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO  |  MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS
MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO  |  MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS
MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO  |  MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS
MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO  |  MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS
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Property from Benappi Fine Art, London

MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO | MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS

Estimate: 40,000 - 60,000 GBP

91011

Property from Benappi Fine Art, London

MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO | MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS

Estimate: 40,000 - 60,000 GBP

Description

Property from Benappi Fine Art, London

MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO

Lucca, active 1484 - 1525

MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS


oil on panel, a tondo

unframed diameter: 40.9 cm.; 16 in.

framed diameter: 66 cm.; 26 in.


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Condition Report

The round panel is flat and has been cradled to the reverse. The colours are still strong, though the paint surface has suffered some slight abrasion. Some retouching can be made out along the panel join running through the neck of the angel at right through the Madonna’s chin to the top of the head of the angel at left. Some further restoration can be made out to the edge of the drapery lower right and left. Some further minor restouchings flouresce. Offered in a carved wooden frame in excellent condition.


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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Provenance

Private collection, Norway;

Whence sold, London, Sotheby's, 4 December 2014, lot 127 (as circle of Lorenzo di Credi, with incorrect dimensions), where acquired.

Exhibited

Oslo, Kunstnernes Hus, May 1975, no. 3 (as 'unknown artist, Florentine').


Catalogue Note

"Few objects are as inextricably linked to the Tuscan Renaissance as tondo panels. This one was painted in Lucca, the charming and fiercely independent Tuscan town which for so long held off the martial advances of its neighbours. By this stage in the High Renaissance, tondi were often painted as aesthetic objects to be enjoyed, as well as for more traditional, devotional purposes, so it comes as no surprise that Membrini has spared little effort in the depiction of the bejewelled crucifix which hangs from the Madonna's neck."


Edoardo Roberti


Amongst all the painters in Lucca active at the turn of the sixteenth century, Michelangelo di Pietro, formerly known as the Master of the Lathrop Tondo, was the artist most influenced by Filippino Lippi. As this tondo demonstrates, the flesh tones and the intensity of expression are entirely informed by Filippino's idiom, particularly the wings at the Norton Simon Foundation, originally from the Bernardi altarpiece formerly in Santa Maria del Corso in Lucca, executed 1482–83.1 Direct comparisons with other works by Membrini confirm the attribution of the present work: similar chubby hands and eyelids, as well as comparable folds in the drapery, are to be found in the artist's Assumption of the Virgin from 1499 in the Ringling Museum, Sarasota, which was also most likely in the aforementioned church of Santa Maria del Corso in Lucca, and is unmistakably Filippinesque in character. The Virgin's necklace, made of pearls and gems, and her translucent veil, recall the Annunciation in the Santissima Annunziata outside Lucca and the altarpiece in San Cristoforo a Lammari in Capannori near Lucca.


Translated from a text by Professor Andrea De Marchi. 


1 P. Zambrano and J. Katz Nelson, Filippino Lippi, Milan 2004, pp. 338–40, no. 26, reproduced.

MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO  |  MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS
Property from Benappi Fine Art, London
MICHELANGELO DI PIETRO MEMBRINI, FORMERLY KNOWN AS THE MASTER OF THE LATHROP TONDO | MADONNA AND CHILD, WITH THE INFANT SAINT JOHN AND TWO SAINTS
Lot Closed