Loading Spinner

Luca Signorelli (1450 - 1523)

Lot 15: LUCA SIGNORELLI

Sotheby's

January 26, 2012
New York, NY, US

More About this Item


Description

CORTONA CIRCA 1450 - 1523
A PROCESSIONAL BANNER: THE PRESENTATION IN THE TEMPLE
distemper on canvas
70 1/2 by 52 1/2 in.; 179 by 133.3 cm.

Exhibited

London, Burlington Fine Arts Club, Pictures of the Umbrian School, 1909-10, pp. 37-8, cat. no. 46 (as attributed to Fra Carnevale);
London, Thomas Agnew & Sons, Ltd., Summer Exhibition of Fine Old Masters, June- July, 1948, cat. no. 23 (as by Giovanni Santi);
Sansepolcro, Casa di Piero, Nel Raggio di Piero, 1992, cat. no. 20, (as follower of Piero della Francesca [Perugino?]).

Literature

Pictures of the Umbrian School, exh. cat., London 1910, pp. 37-8, cat. no. 46 (as attributed to Fra Carnevale, noting the opinion of Berenson that the picture was of Venetian provincial origin);
Abridged Catalogue of the Pictures at Doughty House, Richmond.(Belonging to Sir Frederick Cook, Bart., Visconde de Monserrate.),1907 & 1914 editions, p. 47;
T. Borenius, "La mostra dei maestri umbri a Londra", in Rassegna d'Arte, vol. X, 1910, pp. 44-5 (as school of Piero della Francesca);
U. Gnoli, "La pittura umbra alla Mostra del Burlington Club," Rassegna d'arte umbra, I, 1910;
U. Gnoli, "L'art Italien aux expositions de Londres en 1910," Revue de ll'art Chrétien, IX, 1910, p. 320;
B. Geiger, "Marco Marziale und der Sogenannte Nordische Einflusz in seinem Bildern", in Jahrbuch der Königlich Preuszischen Kunstsammlungen, vol. XXXIII, 1912, pp. 122-48 (as a Modenese artist influenced by Piero della Francesca; not Marco Marziale as it had previously been described);
T. Borenius, (H. Cook, ed.), A Catalogue of the Paintings at Doughty House Richmond & Elsewhere in the Collection of Sir Frederick Cook Bt., Visconde de Monserrate: Volume 1, Italian Schools, London, 1913, pp. 56-7, cat. no. 48, reproduced plate 48 (as school of Piero della Francesca, but with an attribution to Lorentino d'Arezzo favored by Herbert Cook);
M.W Brockwell, Abridged Catalogue of the Pictures at Doughty House..., London 1932, p. 80, cat. no. 48 (as attributed to Piero);
B. Berenson, Italian Pictures of the Renaissance, Oxford 1932, p. 456 (under Piero della Francesca as perhaps executed by Marco Marziale);
B. Berenson, Pitture italiane del Rinascimento, Milan 1936, p. 391 (under Piero della Francesca as perhaps executed by Marco Marziale);
R. van Marle, The Development of the Italian Schools of Painting, vol. XVI, The Hague 1937, p. 153, reproduced, p. 150, fig. 82 (as Lorentino d'Arezzo);
K. Clark, ''Piero della Francesca's Augustinian Altarpiece'', in The Burlington Magazine, vol. LXXXIX, 1947, pp. 205-9 (as Lorentino d'Arezzo?);
D. Carritt, "Old Masters at Leger's and Agnew's," in The Burlington Magazine, vol. XC, July 1948, p. 203 (as "intelligently ascribed to Giovanni Santi");
F. Zeri, ''Il Maestro dell'Annunciazione Gardner'', in Bollettino d'Arte, vol. XXXVIII, 1953, pp. 125-39, pp. 132-134 (as attributed to Perugino, but also referring to Lionello Venturi's attribution to Raphael);
M. Salmi, Luca Signorelli, Novarra 1953, pp. 7-8, 45-6 (as perhaps by Signorelli?);
M. Salmi, ''Un nuovo Signorelli?'', in Rivista d'Arte, vol. XXVIII, 1953, pp. 60-65 (as attributed to the workshop of Piero della Francesca, Signorelli?);
U. Baldini, in M. Salmi (ed.), Mostra di quattro Maestri del primo Rinascimento, exh. cat., Florence 1954, p. 126 (quoting C. Ragghianti's opinion which attributed the picture to Giovanni Santi);
G. Briganti, ''Piero della Francesca Werkstatt, 'Darstellung im Tempel"', in Die Weltkunst, vol. XXIV, 1954, p. 3;
B. Berenson, Italian Pictures of the Renaissance, Venetian School, London 1957, p. 112 (under Marco Marziale as inspired by Piero della Francesca);
A. Martini, "The early work of Bartolomeo della Gatta", in Art Bulletin, 42, 1960, pp. 139-41 (as attributed to Signorelli);
P. De Vecchi, L'opera completa di Piero della Francesca, Milan 1967, p. 108, cat. no. 61 (as formerly attributed to Piero);
B. Berenson, Italian Pictures of the Renaissance, Central Italian and North Italian Schools, London 1968, p. 341 (where described as executed by Marco Marziale, inspired by Piero della Francesca);
E. Battisti, Piero della Francesca, Milan 1971, vol. II, p. 96 (as follower of Piero della Francesca, Piero di Castel della Pieve?);
C.L. Ragghianti & G. Dalli Regoli, Firenze 1470-1480 Disegni dal Modello, Pisa 1975, pp. 17-18, and p. 42 note 32 (as attributed to Giovanni Santi);
P. Scarpellini, Il Perugino, Milan 1984, pp. 18, 69 (as attributed to a follower of Piero della Francesca, Perugino?);
L. B. Kanter, "Luca Signorelli, Piero della Francesca, and Pietro Perugino", in Studi di Storia dell'Arte, vol. I, 1990, pp. 96-7, 100 (as Luca Signorelli);
E. Battisti, Piero della Francesca, Milan 1992, vol. II, p. 566 (as Piero della Pieve?);
G. Damiani, in L. Berti (ed.), Nel Raggio di Piero, exh. cat., Sansepolcro 1992, p. 118 (as attributed to a follower of Piero della Francesca, Perugino?);
A. De Marchi, "Pedanterie pierfrancescane", in Prospettiva, 72, 1993, pp. 86-7 detail reproduced p. 86, fig. 3 (as attributed to Luca Signorelli);
P. Scarpellini, "Una postilla pierfrancescana. La scuola dell'artista tra settimo e ottavo decennio del Quattrocento", in Commentari d'Arte, I.1, 1995, p. 26 (no attribution);
T. Henry and L.B. Kanter, Luca Signorelli. The Complete Paintings, New York 2002, p. 13 (as follower of Piero della Francesca, Signorelli?), and pp. 258-259 under Appendix 5, reproduced (under paintings of uncertain attribution, attributed to a follower of Piero della Francesca, Pietro di Galeotto?);
V. Garibaldi, Perugino, Milan 2004, p. 20 (as follower of Piero della Francesca, not Perugino);
T. Henry, in L. Teza (ed.), "Perugino e Signorelli", in Pietro Vannucci detto il Perugino. Atti del Convegno internazionale di studio, 25-28 ottobre 2000, Perugia 2004, pp. 75-90 (as attributed to a follower of Piero della Francesca, Pietro di Galeotto?);
P. Scarpellini, "Riflessioni sugli esordi di Perugino", in V. Garibaldi and F.F. Mancini (eds.), Perugino. Il Divin Pittore, exh. cat., Perugia 2004, pp. 47-53 (as attributed to Perugino);
T. Henry, "La formazione di Pietro Perugino", in V. Garibaldi and F.F. Mancini (eds.), Perugino. Il Divin Pittore, exh. cat, Perugia 2004, pp. 73-9 (as attributed to Pietro di Galeotto?);
A. Marabottini, "In margine alla mostra del Perugino: gli anni giovanili sino alla partenza per Roma", in Commentari d'Arte, vol. VIII, nos. 21-23, (2002, published in 2006) pp. 40-41, reproduced p. 39 (as attributed to Perugino);
T. Henry in L. Fornasari, G. Gentilini and A. Giannotti (eds.), "Le prime opere di Luca Signorelli a Cortona ed Arezzo", in Arte in Terra d'Arezzo: il Quattrocento, Florence 2008, pp. 172-83, reproduced in color p. 174, fig. 6 (as attributed to Luca Signorelli);
T. Henry, "One picture, ten names, and a proposal for the early career of Luca Signorelli", in 1492. Rivista della Fondazione Piero della Francesca, vol. II, 2010, pp. 21-40 (as attributed to Luca Signorelli);
T. Henry, The Life and Art of Luca Signorelli, New Haven and London 2012 (forthcoming; as attributed to Luca Signorelli; for an full and newly updated summary of his opinion, please see note below).

Provenance

Sir Francis Cook, 1υst Bt. (1817-1901), Richmond, by 1901;
Thence by descent to Sir Frederick Cook, 2υnd Bt. (1844-1920), Richmond;
Thence by descent to Sir Herbert Cook, 3υrd Bt. ( 1868-1939), Richmond;
Thence by descent to Sir Francis Cook, 4υth Bt. (1907-1978), Richmond;
Sold to Thomas Agnew & Sons, Ltd., London on the 30υth April, 1946 for £850 (as part of a group of 16 paintings, all individually priced);
With Thomas Agnew & Sons, Ltd., London;
With A. Morandotti, Rome;
Private Collection, Italy;
Anonymous sale, Venice, Semenzato, 17 October, 2004, lot 3 (as attributed to the Maestro della Madonna Villamarina, Luca Signorelli?).

Request more information

For Sale from Sotheby's