- 4
Workshop of Antonio di Benedetto Aquilio, called Antoniazzo Romano
Estimate
20,000 - 30,000 USD
bidding is closed
Description
- Antonio di Benedetto Aquilio, called Antoniazzo Romano
- The Madonna and Child
- oil on panel, gold ground, unframed
Provenance
With Frascione, Florence;
Gnecco, Genoa;
Count Magherini-Graziani, Città di Castello;
Thence by descent in the present collection since 1963.
Gnecco, Genoa;
Count Magherini-Graziani, Città di Castello;
Thence by descent in the present collection since 1963.
Exhibited
Perugia, Palazzo del Popolo, Mostra d’antica arte umbra, 1907, no. 52 (as Antoniazzo).
Literature
Mostra d’antica arte umbra, exhibition catalogue, Perugia 1907, p. 126, cat. no. 52 (as Antoniazzo);
G. Cristofani, “La mostra d’antica arte umbra a Perugia,” in L’Arte, X, 1907, p. 302 (as Antoniazzo);
F. Mason Perkins, “La pittura all’esposizione di arte antica di Perugia,” in Rassegna d’arte, VII, 1907, p. 117 (as Antoniazzo);
U. Gnoli, L’arte umbra alla mostra di Perugia, 1908, p. 44 (as a late work by Antoniazzo);
A. Venturi, Storia dell’arte italiana. La pittura del Quattrocento, vol. VII, part II, 1913, p. 286, note 1 (as by or attributed to Antoniazzo Romano);
J.A. Crowe & G.B. Cavalcaselle, A History of Painting in Italy: Umbria, Florence and Siena from the second to the fifteenth century, London 1914, vol. V, p. 280 (as Antoniazzo Romano);
R. van Marle, The development of the Italian School of Painting. The Renaissance painters of central and southern Italy, The Hague 1934, vol. XV, p. 279 (as by or attributed to Antoniazzo Romano);
G. Noehles, Antoniazzo Romano, Studien zur Quattrocentomalerei in Rom, Münster 1973, p. 195 (as studio of Antoniazzo);
G. Hedberg, Antoniazzo Romano and his school, New York 1980, p. 226, cat. no. 103 (as studio of Antoniazzo);
A. Cavallaro, Antoniazzo Romano e gli Antoniazzeschi. Una generazione di pittori nella Roma del Quattrocento, 1992, pp. 231-232, cat. no. 83, reproduced fig. 154 (as studio of Antoniazzo).
G. Cristofani, “La mostra d’antica arte umbra a Perugia,” in L’Arte, X, 1907, p. 302 (as Antoniazzo);
F. Mason Perkins, “La pittura all’esposizione di arte antica di Perugia,” in Rassegna d’arte, VII, 1907, p. 117 (as Antoniazzo);
U. Gnoli, L’arte umbra alla mostra di Perugia, 1908, p. 44 (as a late work by Antoniazzo);
A. Venturi, Storia dell’arte italiana. La pittura del Quattrocento, vol. VII, part II, 1913, p. 286, note 1 (as by or attributed to Antoniazzo Romano);
J.A. Crowe & G.B. Cavalcaselle, A History of Painting in Italy: Umbria, Florence and Siena from the second to the fifteenth century, London 1914, vol. V, p. 280 (as Antoniazzo Romano);
R. van Marle, The development of the Italian School of Painting. The Renaissance painters of central and southern Italy, The Hague 1934, vol. XV, p. 279 (as by or attributed to Antoniazzo Romano);
G. Noehles, Antoniazzo Romano, Studien zur Quattrocentomalerei in Rom, Münster 1973, p. 195 (as studio of Antoniazzo);
G. Hedberg, Antoniazzo Romano and his school, New York 1980, p. 226, cat. no. 103 (as studio of Antoniazzo);
A. Cavallaro, Antoniazzo Romano e gli Antoniazzeschi. Una generazione di pittori nella Roma del Quattrocento, 1992, pp. 231-232, cat. no. 83, reproduced fig. 154 (as studio of Antoniazzo).
Condition
The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 336 West 37th Street, Suite 830, New York, NY 10018, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's.Mary's red dress has survived quite well, showing only few scratches, now restored, while thethickly-applied blue pigment in the mantle has darkened over time, a common phenomenon.The flesh passages are thinly painted, allowing the underdrawing to show through the paintfaintly, and are slightly worn. Some of the underdrawn contours are strengthened withretouching, which aids in the definition of features. Much of the restoration is discolored andeasily recognizable as dark spots and strokes. Additional toning, only just visible withultraviolet illumination, seems to have been applied to mimic a layer of dirt. The gildedbackground displays a normal degree of wear. The thick varnish is slightly cloudy and doesnot fully saturate the pigments. The wood panel support is a single, vertically-grained board.On the reverse, visible wood worm damaged is limited to the upper right region; the panelappears stable.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."