View full screen - View 1 of Lot 570. Madonna and Child in Glory.
570

Lorenzo di Bicci

Madonna and Child in Glory

Estimate:

200,000

to
- 300,000 USD

Property from a Distinguished Private Collection

Lorenzo di Bicci

Lorenzo di Bicci

Madonna and Child in Glory

Madonna and Child in Glory

Estimate:

200,000

to
- 300,000 USD

Lot sold:

214,200

USD

Property from a Distinguished Private Collection

Lorenzo di Bicci

Documented in Florence 1370 - 1427

Madonna and Child in Glory


tempera on panel, gold ground, with an arched top

panel: 23 by 14 1/4 in.; 58.5 by 36.3 cm.

framed: 40 by 24 1/4 in.; 101.6 by 61.6 cm.

The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 119 West 23rd Street, Suite 400, New York, NY 10011, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's.


This painting is in very good condition overall. The flesh passages are particularly nicely preserved, free of wear or losses of any note. The most recent restoration, clearly visibly under ultraviolet illumination, is primarily applied to reinforce the darkest areas of the red lake glazes in Mary's dress. Restoration also addresses a few small losses in the garments and in the red seraph behind the Christ child. The white veil has been reconstructed where it overlaps the red dress. Small retouches knit together minor wear and/or tiny losses in the right sides of the heads of both the Madonna and the child Jesus. Despite some rubbing in the blue cherubim, the delicate, minute sgraffito feathers on the wings remain legible. Further restoration may exist beneath the strongly fluorescing varnish, including throughout the blue mantle, wherein the original blue paint has darkened over time, but is difficult to confirm with UV. Some regilding has been carried out in the gold ground, but the decorative gilded details in the garments appear to be original.


The vertically-grained wood panel displays a mild lateral convex curvature. One of the joins is open on the back, but appears stable. A newer block of wood has been attached to repair the apex of the shaped support.


The non-original frame is in sound condition with no noticeable defects.


"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."

Count Giuseppe Napoleone Primoli, Palazzo Primoli, Rome;
Godfrey Locker-Lampson, London, by 1938;
Anonymous sale, London, Christie's, 30 January 1948, lot 155 (as 'Giovanni da Milano', 220 gns. to Canterbury);
With Wildenstein, 1948-1950 (according to Berenson archive);
Dr. Alfred Scharf, until 1954;
With Wildenstein, New York;
Anonymous sale, New York, Christie's; 25 January 2012, lot 26;
There acquired.  
G. L. Lampson, A Few Italian Pictures Collected by Godfrey Locker-Lampson, n.d. [c. 1938], pp. 18-19, no. VI (as Giovanni da Milano);
B. Berenson, Italian Pictures of the Renaissance: Florentine School, London 1963, I, p. 162 (as Niccolò di Tommaso');
M. Boskovits, Pittura fiorentina alla vigilia del Rinascimento: 1370-1400, Florence 1975, pp. 56, 336, reproduced plate 58;
R. Fremantle, Florentine Gothic Painters, from Giotto to Masaccio, London 1975, p. 412, no. 840;
D. Sutton, 'Robert Langton Douglas, Part IV,' in Apollo, CX, no. 209, July 1979, pp. 8, 12, reproduced fig. 20;
R. Offner, A Critical and Historical Corpus of Florentine Painting, Supplement: A Legacy of Attributions, New York 1981, pp. 41, 99, reproduced fig. 79; 
M.S. Frinta, Punched Decoration on Late Medieval Panel and Miniature Painting: Part I, Catalogue Raisonné of All Punch Shapes, Prague 1998, p. 506.