阿里桑德羅·迪·馬里亞諾·菲利佩皮 - 或稱波提且利及其畫室
- Alessandro di Mariano Filipepi, called Botticelli and Studio
Eugène Samuel Grasset, Paris;
Thence by descent to Mme Grasset;
Vandeuvre, Paris, 1847;
With Duveen Brothers, New York, 1931 to 1962 (as Botticelli);
Norton Simon, Los Angeles;
Sale ("Sold on behalf of the Republic of the Philippines through the Presidential Commission on Good Government and Property in the Custody of the United States Government"), New York, Christie's, 11 January 1991, lot 4 (as Studio of Botticelli);
There purchased by the present collector.
New York, M. Knoedler and Co., Loan in Honor of Royal Cortissoz, 1-20 December 1941, no. 6 (as Botticelli);
Los Angeles, Los Angeles County Museum, on loan.
L. Venturi, Italian Paintings in North America, vol. II, New York 1933, pp. 163 and 213, reproduced fig. 256;
J. Mesnil, Botticelli, Paris 1938, p. 163 (as Workshop of Botticelli);
R. Langton Douglas, "Review of the Exhibition in Honor of Royal Cortissoz," in Art in America, vol. 30, no. 1, January 1942, p. 63 (as Botticelli);
R. Salvini, Tutta la pittura del Botticelli, Milan 1958, vol. II, pp. 78-79, reproduced fig. 156 (as Workshop of Botticelli);
M. Esterow, "Norton Simon Foundation to Buy Mansion and $15 Million Art Collection of Duveen Gallery," in The New York Times, 21 April 1964, p. 27 (as Botticelli);
R. Lightbown, Sandro Botticelli, Berkeley 1978, vol. II, p. 125, under cat. no. 19 (as Workshop of Botticelli, based only on black and white photographs).
A number of other versions in this upright, rectangular format are known, including one in the Gemäldegalerie, Dresden (inv. no. 8); one in the National Gallery, London (inv. no. 782); and another in the Ashmolean Museum, Oxford (inv. no. WA1932.1).2 The upright versions are each larger than the present painting and vary in the background details. In most, however, the figures are similarly placed in the corner of a room with a window either at the right or at both sides, revealing a landscape beyond.
The elegant pose of the Virgin is closest to that in the Cleveland picture, her face angled further down towards the Christ Child, her right arm around his shoulders and her left reaching under his crooked leg. In the Dresden and Oxford versions the Virgin's face is shown in profile, but in the present composition she turns, revealing most of her face to the viewer. The Child's head, meanwhile, is tilted backwards at a more acute angle than in the other versions, his lips almost pressing his mother's cheek. In the majority of the other versions, the Christ Child leans forward but his feet are together and the Virgin's left hand rests on the round of his belly. In the present painting, similar to the Cleveland version, the child strides dynamically across his mother's lap, reaching for her veil with his right hand.
1. R. Lightbown, under Literature, pp. 124-125, cat. no. C19, reproduced; N. Pons, under Literature, p. 78, cat. no. 82, reproduced.
2. For a full list of versions see R. Lightbown, under Literature, pp. 124-129, cat. nos. C19-C25.