View full screen - View 1 of Lot 13. Pistoiese School, circa 1375, Crucifixion with the Virgin, saint John and Mary Magdalen | Ecole anonyme, Pistoia, vers 1375, rucifixion avec la Vierge Marie, saint Jean et Marie Madeleine.
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Pistoiese School, circa 1375, Crucifixion with the Virgin, saint John and Mary Magdalen | Ecole anonyme, Pistoia, vers 1375, rucifixion avec la Vierge Marie, saint Jean et Marie Madeleine

Estimate:

30,000 - 50,000 EUR

Pistoiese School, circa 1375, Crucifixion with the Virgin, saint John and Mary Magdalen | Ecole anonyme, Pistoia, vers 1375, rucifixion avec la Vierge Marie, saint Jean et Marie Madeleine

Pistoiese School, circa 1375, Crucifixion with the Virgin, saint John and Mary Magdalen | Ecole anonyme, Pistoia, vers 1375, rucifixion avec la Vierge Marie, saint Jean et Marie Madeleine

Estimate:

30,000 - 50,000 EUR

Pistoiese School, circa 1375

Crucifixion with the Virgin, saint John and Mary Magdalen


Tempera on gold ground in an integral frame

58,4 x 38,2 cm ; 23 by 15 in.

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Ecole anonyme, Pistoia, vers 1375 

Crucifixion avec la Vierge Marie, saint Jean et Marie Madeleine 


Tempera sur fond d'or sur panneau dans un cadre intégral

58,4 x 38,2 cm ; 23 by 15 in.

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This panel is probably the central part of a tabernacle that has been dismantled. Intended for private devotion and often portative, these tabernacles were particularly common in Italy in the fourteenth century. They comprise three panels which can usually be folded, allowing the side panels to be closed and protecting the central image. 


The present painting depicts a Crucifixion. Christ on the Cross, with blood spurting from his hands and body, is surrounded by saints; there is a skull at the base of the Cross. The iconography is derived from Bernardo Daddi (1290-1348): the central part of the tabernacle by Bernardo in the Harvard Art Museums in Cambridge, MA (inv. 1918.33) is a good example, comparable to the present painting.


Although the style is similar to that of the Florentine master, there are some slight differences. The elongated silhouettes, the pronounced folds of the drapery, and the fine details of Christ’s body are closer to Bartolomeo di Giovanni di Domenico (1452-1501), especially the frescoes he painted for the sacristy of the Church of St Francis in Pistoia. 


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Ce panneau constitue très probablement la partie centrale d’un tabernacle aujourd’hui démantelé. Destinés à la dévotion privée, et souvent portatifs, les tabernacles sont particulièrement usités en Italie au XIVe siècle. Ils comportent trois panneaux généralement amovibles, permettant aux panneaux latéraux d’être repliés et de protéger la partie centrale.   


Le présent tableau figure une Crucifixion : le Christ sur la Croix, dont le sang jaillit des mains et du corps, est entouré de saints ; aux pieds de la Croix, figure une tête de mort. L’iconographie trouve sa source chez Bernardo Daddi (1290-1348) : la partie centrale du tabernacle conservé au Harvard Art Museums à Cambridge en est un bel exemple, proche du nôtre (inv. 1918.33).


Le style, quoique proche du maître florentin, en diffère toutefois légèrement. Les silhouettes allongées, les plis marqués, et la finesse des détails du corps du Christ se rapprochent davantage de Bartolomeo di Giovanni di Domenico (1452-1501), et notamment de ses fresques réalisées pour la sacristie de l’église Saint François à Pistoia.