View full screen - View 1 of Lot 27. The Crucifixion and Adoration of the Magi, with the Annunciation above.
27

Master of the San Niccolò Altarpiece

The Crucifixion and Adoration of the Magi, with the Annunciation above

Property from a Distinguished Private Collection

Master of the San Niccolò Altarpiece

Master of the San Niccolò Altarpiece

The Crucifixion and Adoration of the Magi, with the Annunciation above

The Crucifixion and Adoration of the Magi, with the Annunciation above

Property from a Distinguished Private Collection

Master of the San Niccolò Altarpiece

Active in Florence circa 1360-1390

The Crucifixion and Adoration of the Magi, with the Annunciation above


tempera on panel

panel: 25 by 12 ⅜ in.; 63.5 by 31.6 cm. 

framed: 27 by 13 ½ in; 68.6 by 34.3 cm. 

The following condition report has been provided by Matt Hayes of Pietro Edwards Society of Art Conservation, 119 West 23rd Street, Suite 400, New York, NY 10011, 212-457-8956, mh@edwards-society.com, an independent restorer who is not an employee of Sotheby's. The painting is in very good state. These are the wings of a triptych joined together in a modern wooden frame. The inner (open) sides remain intact. The gilding is in very good condition, with only slight wear and a few points of greater abrasion, as in the punchwork of the crucifixion and at the proper right. There is some regilding to the molding, and a few small losses there that are not retouched. The paint film is likewise in generally very good state. There are scattered small losses mostly at the edges of cracks, notably in the Nativity. Some wear can be seen in the mordant gilt ornament at the lower edge. Scattered retouching is present throughout, most significantly in the whitish robe of St. John. The varnish is clear, perhaps very slightly discolored, and the gloss even. The reverse (originally the exterior of the wings, visible in the closed state of the triptych) has been repainted, probably in the eighteenth century. This was done over the original paint, of which traces—central roundels with punchwork—can be seen in the surface. The paint is in good condition. There is some wear and scattered retouching, and the coating on this side is slightly discolored. There is some mechanical damage at the panel edges commensurate with their use, especially on the profile molding. A small hole below the angel's raised hand in the Annunciation indicates a slight amount of earlier woodworm activity, now ceased. The frame is 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.

Probably Gaboriaud sale, Paris, 1930;
Probably Fernand Nathan;
Thence probably by descent to his son, until 1994;
Private collector, by 1994;
By whom anonymously sold, Paris, Artcurial, 7 November 2012, lot 3 (as by Francesco di Michele);
Where acquired by the present collector.
R. Offner, "The Mostra del Tesoro di Firenze Sacra-I," in Burlington Magazine, vol. 63, no. 365, 1933, p. 84, note 60. 

This Florentine master’s eponymous work is a triptych painted for the sacristy in San Niccolò d'Oltrarno in Florence. Richard Offner was the first to compile a list of this artist’s works in his 1933 Burlington article in which he reviewed a group of works presented in Saint Mark's convent in Florence. Offner places this rare master firmly in the ambient of Orcagna, the great inheritor of the Giottesque tradition in Florence, noting that he was "gifted beyond the rule of his contemporaries" (see Literature). 


It has been suggested that these wings would have originally been matched with a Madonna and Child with Saints by the artist at the Legion of Honor in San Francisco (inv. 50.24.1) which has traditionally carried an attribution to Niccolò di Tommaso. 

We are grateful to Christopher Daly and Maximillian Hernandez for their assistance in the cataloguing of this lot.