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Lot 8: SIMONE MARTINI

Sotheby's

January 26, 2012
New York, NY, US

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Description

PROPERTY OF A PRIVATE COLLECTOR
CIRCA 1284 - 1344
THE VIRGIN ANNUNCIATE
tempera on panel, gold ground, in an engaged frame
11 1/2 by 8 1/8 in.; 29.2 by 20.6 cm.

Exhibited

Brussels, Musée Royaux des Beaux-Arts, Primitifs Italiens de la Renaissance, opening 20 December 1921, no. 19 (as Simone Martini);
Brussels, Palais des Beaux-Arts, Chefs-d'oeuvre de l'art ancien dans les musées et collections belges, 29 May - 24 June 1953, no. 17 (as Simone Martini);
Antwerp, Koninklijk Museum voor Schone Kunsten, La Madone dans l'art, 28 August - 14 November 1954, no. 50 (as Simone Martini);
London, National Gallery of Art, on loan 1999 - 2001 (as Workshop of Simone Martini, probably Naddo Ceccarelli).

Literature

P. Bautier, "Primitvi italiani della collezione Stoclet a Bruxelles," in Cronache d'arte, 1927 (as Simone Martini);
G.M. Richter, "Simone Martini Problems: The Stoclet Madonna," in The Burlington Magazine, vol. LIV, April 1929, pp. 166-173, reproduced p. 174 (as Simone Martini);
A. de Rinaldis, Simone Martini, Rome 1936, p. 62, reproduced fig. LXXI (as Simone Martini, a beautiful variation on the Uffizi Madonna);
P. Toesca, Il Trecento, Torino 1951, p. 542, note 65 (amongst a list of works by Martini, or close to him [);
G. Paccagnini, Simone Martini, Milan 1955, pp. 168-169, reproduced fig. 90 (as a questioned attribution);
J.P. van Goidsenhoven (English translation by F.C. Jedson), Adolphe Stoclet Collection, Brussels 1956, pp. 85-86, reproduced (as Simone Martini);
B. Berenson, Italian Pictures of the Renaissance. A List of the Principal Artists and their Works with an Index of Places. Central Italian and North Italian Schools, London 1968, vol. I, p. 402 (as Simone Martini);
G. Contini and M.C. Gozzoli, L'Opera completa di Simone Martini, Milan 1970, p. 106, no. 60, reproduced (under "Ulteriori opere attribuite" as Studio of Martini);
C. de Benedictis, "Naddo Ceccarelli," in Commentari, vol. 25, July - December 1974, pp. 139-140, reproduced fig. 1 (as Naddo Ceccarelli);
M. Lonjon, "Naddo Ceccarelli," in L'Art gothique siennois: enluminure, peinture, orfèvrerie, sculpture, exhibition catalogue, Avignon, Florence 1983, pp. 191-192 (as by the same author as the Madonna in the Mount Holyoke College Art Museum, attributed hesitantly to Lippo Memmi by F. Zeri in 1972);
P. Leone de Castris, "Problemi martiniani avignonesi: il 'Maestro degli Angeli Ribelli' i due Ceccarelli ed altro," in Simone Martini, Sienna 1988, pp. 229-230 (grouped with a number of other works, all as possibly by Petrus Ciccarelli).

Provenance

Adolphe Stoclet (1871-1949), Brussels, by the 1920s, and thence by descent in the family;
Acquired by the present owner on the French Art Market in the late 20th century.

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