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102

PROPERTY OF A LADY

Andrea di Bartolo
ANGEL OF THE ANNUNCIATION
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102

PROPERTY OF A LADY

Andrea di Bartolo
ANGEL OF THE ANNUNCIATION
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拍品詳情

西洋古典油畫及雕塑日拍

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Andrea di Bartolo
SIENA, ACTIVE FROM 1389-DIED 1428
ANGEL OF THE ANNUNCIATION
tempera on panel, gold ground
14 1/4 by 9 in.; 36 by 23.3 cm.
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來源

Purchased in Venice between 1838-77 by Edward Cheney (1803 - 1884), Badger Hall, Shropshire;
Thence by inheritance to his brother-in-law, Colonel Alfred Capel Cure (1826 - 1896);
Thence by inheritance to his nephew Francis Capel Cure, 1896;
His sale, London, Christie's, 6 May 1905, lot 15 (as Italian School), to Charles Butler;
Charles Butler (1821 - 1910), 3 Connaught Place, London;
His deceased sale, London, Christie's, 25 May 1911, lot 35 (as Florentine School), £14.14s to Dowdeswell;
Miss Belle da Costa Greene, New York, by 1932;
Her deceased sale ("Property of the Pierpont Morgan Library, New York, from the Collection of Miss Belle da Costa Greene), London, Sotheby's, 14 May 1958, lot 64 (as Spinello Aretino, and as arched on top) £500 to Thos. Agnew & Sons, London; 
By whom sold to Sir Nicholas Sekers (1910 - 1972), 11 November 1958;
By whom sold to Thos. Agnew & Sons, London, 22 February 1971;
By whom sold to Sir Geoffrey Agnew (1908 - 1986), 17 March 1972;
Thence by descent to the present owner.

展覽

 

出版

B. Berenson, Italian Pictures of the Renaissance..., Oxford 1932, p. 549 (as Spinello Aretino);
B. Berenson, Italian Pictures of the Renaissance...Florentine School, Greenwich, CT 1963, vol. I, p. 205 (as Spinello Aretino);
F. Zeri, "Da Spinello a Andrea di Bartolo," in Diari di Lavoro, Bergamo 1971, pp. 31-32, reproduced figure 24 (as Andrea di Bartolo).

相關資料

This panel, long believed to be the work of Spinello Aretino, was correctly given to Andrea di Bartolo by Federico Zeri in 1968. The angel Gabriel once made up the left side of a diptych; its companion is the Madonna Annunciate in the Pushkin Museum, Moscow (fig. 1). Zeri observed that while both panels are fragments, their dimensions are almost identical, as are the compositions and the gold punchwork surrounding the heads of both figures. Additionally, the roundels above the main composition in Andrea's Madonna and Child with Saints at the Yale University Art Gallery show the angel and Mary posed exactly as they appear here.1

The son of Sienese painter Bartolo di Fredi (1330 -1410), Andrea trained with his father and also collaborated with him as well as with Luca di Tommè (1330 – 1389). He ran his own successful workshop and traveled across the Italian peninsula for commissions, adapting his style slightly to regional tastes. The present work may have been commissioned, along with its companion, by one of Andrea’s many religious or monastic patrons.

1. Yale University Art Gallery, inv. no. 1943.248

西洋古典油畫及雕塑日拍

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