Madonna and Child
See also : Christianity Renaissance Ancient painting Italian painting 1300-1700 Flemish art Ancient Germany
Chronology : 1150-1300 14th century 15th century 1460-1479 1480-1499 16th century 1500-1519 1520-1539 1540-1569 1570-1599
Chronology : 1150-1300 14th century 15th century 1460-1479 1480-1499 16th century 1500-1519 1520-1539 1540-1569 1570-1599
1250-1280 The Enthroned Virgin and Child
2011 SOLD 6.3 M€ including premium
Predominantly or even exclusively Christian, French Gothic art has created masterpieces. For sale on November 16 at Christie's in Paris, an ivory group of Virgin and Child is announced with a very open estimate of € 1 to 2 million, the first indication that this piece is of exceptional quality and rarity.
Carefully carved around 1250 to 1280, it is an exquisite work, 38 cm high. Seated on a throne and crowned, the mother holds the child on her lap, and an apple in her right hand. The young child with an abundant curly hair has a realistic face, which is a rare feature in medieval art. The ivory has acquired a nice patina. Here is the link to the catalog.
This work has much in common with the Virgin and Child from the Sainte-Chapelle in Paris, dating from the reign of Louis IX (St. Louis) and now in the Louvre. Traditionally, the group for sale originated in a Provençal monastery. The link between Paris and the Mediterranea was strong in that reign as Queen Marguerite was the daughter of the comte de Provence.
The ancient pieces often have a history. The child's head, which had belonged to a separate collection, was adjusted again on the group in 1883.
POST SALE COMMENT
The price of real masterpieces can hardly be anticipated. This ivory statuette was sold € 6.3 million including premium.
Carefully carved around 1250 to 1280, it is an exquisite work, 38 cm high. Seated on a throne and crowned, the mother holds the child on her lap, and an apple in her right hand. The young child with an abundant curly hair has a realistic face, which is a rare feature in medieval art. The ivory has acquired a nice patina. Here is the link to the catalog.
This work has much in common with the Virgin and Child from the Sainte-Chapelle in Paris, dating from the reign of Louis IX (St. Louis) and now in the Louvre. Traditionally, the group for sale originated in a Provençal monastery. The link between Paris and the Mediterranea was strong in that reign as Queen Marguerite was the daughter of the comte de Provence.
The ancient pieces often have a history. The child's head, which had belonged to a separate collection, was adjusted again on the group in 1883.
POST SALE COMMENT
The price of real masterpieces can hardly be anticipated. This ivory statuette was sold € 6.3 million including premium.
The Virgin of the Bridgettines
2013 SOLD 2.55 M£ including premium
A Virgin and Child in ivory 24 cm high is estimated £ 800K, for sale by Sotheby's in London on December 4. It is dated from its features to the mid-thirteenth century. In very good condition, it has even preserved some traces of gilding and polychromy. The work of carving is very sharp. Here is the link to the catalog.
Science does not locate the origins of objects, but this piece was most likely made somewhere between Picardy and Wallonia. Attitudes are Romanesque following the Byzantine tradition, with some more specific characteristics such as the pleasant gesture of the blessing child.
It is thus a contemporary of the wonderful Provençal ivory on the same theme, sold for € 6.3 million including premium by Christie's on November 16, 2011, where the smooth movement of the child to the mother clearly anticipates the Renaissance.
The statuette for sale by Sotheby's belonged to the nuns of a Bridgettine community in their first monastery in Middlesex and they brought it in their wanderings of several centuries to escape war and persecution. It then entered the prestigious collection of the Alton Towers, but went out of sight after a final exhibition in 1873.
A Bridgettine tradition documented in 1723 assigns a miraculous origin to a statuette that is certainly this one. One evening at supper time, the nuns heard the doorbell. Upon opening the door, they found the statuette. The reasons and conditions of its arrival were never identified.
Their monastery had been inaugurated in 1415, and the date of the miracle was not recorded. The radiocarbon dating now confirms its much earlier making as suggested by its style.
POST SALE COMMENT
Ivory statuettes of this style are rare on the art market. This one was sold for £ 2.55M including premium.
Science does not locate the origins of objects, but this piece was most likely made somewhere between Picardy and Wallonia. Attitudes are Romanesque following the Byzantine tradition, with some more specific characteristics such as the pleasant gesture of the blessing child.
It is thus a contemporary of the wonderful Provençal ivory on the same theme, sold for € 6.3 million including premium by Christie's on November 16, 2011, where the smooth movement of the child to the mother clearly anticipates the Renaissance.
The statuette for sale by Sotheby's belonged to the nuns of a Bridgettine community in their first monastery in Middlesex and they brought it in their wanderings of several centuries to escape war and persecution. It then entered the prestigious collection of the Alton Towers, but went out of sight after a final exhibition in 1873.
A Bridgettine tradition documented in 1723 assigns a miraculous origin to a statuette that is certainly this one. One evening at supper time, the nuns heard the doorbell. Upon opening the door, they found the statuette. The reasons and conditions of its arrival were never identified.
Their monastery had been inaugurated in 1415, and the date of the miracle was not recorded. The radiocarbon dating now confirms its much earlier making as suggested by its style.
POST SALE COMMENT
Ivory statuettes of this style are rare on the art market. This one was sold for £ 2.55M including premium.
1330s - 1360s Private Devotion in Florence
2016 SOLD for $ 3.9M including premium
On April 14 in New York, Christie's sells as lot 125 an altar piece 77 cm high composed of panels in tempera and gold in an architectural structure in gesso. This complex piece in great condition is a witness of the religious art in Florence throughout the Trecento.
The central panel is the most ancient. Painted in the 1330s by Bernardo Daddi, it shows the Enthroned Madonna and Child.
Bernardo had worked with Giotto and is his best follower in Florence. These fresco masters also had clients for private devotion or portable pieces and knew to transcribe their grand art into miniature formats. In this charming scene, Bernardo uses a variety of soft colors. The lines are deliberately strengthened to provide a three-dimensional illusion.
The top and side pictures and the predellas were added about 30 years later and are attributed to the Misericordia Master who was the leading painter in Florence after the plague of 1348 in which Bernardo died. His name was not found.
These additional panels are shaped to match the gesso frame that has certainly been assembled at the same time for an unknown customer who can perhaps be identified by the coats of arms in the predellas.
The altar is now dominated by God the Father. On each side in symmetry, a pair of angels are ascending to God while trying to contemplate Him. The most daring, forward, overcomes the glare of light by using a dark glass. The other, still behind, has not found the solution and masks his eyes with his hand. This rare theme had previously adorned the pinnacle of a monumental altar by Giotto.
I invite you to watch the video shared by Christie's.
The central panel is the most ancient. Painted in the 1330s by Bernardo Daddi, it shows the Enthroned Madonna and Child.
Bernardo had worked with Giotto and is his best follower in Florence. These fresco masters also had clients for private devotion or portable pieces and knew to transcribe their grand art into miniature formats. In this charming scene, Bernardo uses a variety of soft colors. The lines are deliberately strengthened to provide a three-dimensional illusion.
The top and side pictures and the predellas were added about 30 years later and are attributed to the Misericordia Master who was the leading painter in Florence after the plague of 1348 in which Bernardo died. His name was not found.
These additional panels are shaped to match the gesso frame that has certainly been assembled at the same time for an unknown customer who can perhaps be identified by the coats of arms in the predellas.
The altar is now dominated by God the Father. On each side in symmetry, a pair of angels are ascending to God while trying to contemplate Him. The most daring, forward, overcomes the glare of light by using a dark glass. The other, still behind, has not found the solution and masks his eyes with his hand. This rare theme had previously adorned the pinnacle of a monumental altar by Giotto.
I invite you to watch the video shared by Christie's.
early 1470s Unveiling a Renaissance Virgin and Child
2017 SOLD for $ 9M including premium
On April 27 in New York, Christie's sells a panel 111 x 125 cm composed as a triptych in Renaissance style, lot 8 estimated $ 3M. At first glance the piece is shocking : it is an oil painting with the exception of the drawings of the Virgin and Child in the central part and of one of the two characters of saints in the left wing.
The great collector Horace Walpole had acquired it for 80 guineas in 1752 in an auction, as a scene of the marriage of Henry VII with Elizabeth of York in 1486. A difference in technique between the characters and the architectural elements suggests that the composition is hybrid but Walpole is very proud to possess this painting considered as typically Tudor. The provenance is known : it had belonged to William Sykes half a century earlier.
It is exhibited in 1890. An acute observer tells in the Gazette des Beaux Arts that he perceives a classic Virgin and Child through the central part which is a church interior without figures.
The work was acquired in 1977 by the art dealer Edward Speelman. Convinced that only the architectural elements and three of the four saints were contemporaries of the Flemish Renaissance, he entrusted the restoration to the specialist David Bull of the Norton Simon Museum.
In a patient work that spans almost ten years, Bull removes with his knife the 18th century paintings, certainly made by or for Sykes who had a reputation as a faker and knew how to transform works when it pleased his clients. Bull's work brings to light a superb drawing of the Virgin and Child in the central part, supersedes Elizabeth of York with an ill-preserved drawing of St John the Baptist and restitutes to the false Tudor the attributes of St. Louis.
The expertise continued. Radiographic inspection and infrared reflectography demonstrate that the quality of the under-drawing is homogeneous throughout the surface. All the composite elements resulting from the painstaking work of Bull come from a Renaissance work. The beauty of drawing, painting and colors indicates that this panel is the autograph work of a master.
The comparison of expressive details, such as the face of the Virgin or the study of feet, with works indisputably attributed to Hugo van der Goes is convincing and a dating in the early 1470s is consistent with the dendrochronology of the panel. Hugo was a perfectionist until he fell into madness. He worked in Ghent where he admired the polyptych painted half a century earlier by the van Eyck brothers for the altar of St. Bavon's cathedral.
Please watch the video shared by Christie's :
The great collector Horace Walpole had acquired it for 80 guineas in 1752 in an auction, as a scene of the marriage of Henry VII with Elizabeth of York in 1486. A difference in technique between the characters and the architectural elements suggests that the composition is hybrid but Walpole is very proud to possess this painting considered as typically Tudor. The provenance is known : it had belonged to William Sykes half a century earlier.
It is exhibited in 1890. An acute observer tells in the Gazette des Beaux Arts that he perceives a classic Virgin and Child through the central part which is a church interior without figures.
The work was acquired in 1977 by the art dealer Edward Speelman. Convinced that only the architectural elements and three of the four saints were contemporaries of the Flemish Renaissance, he entrusted the restoration to the specialist David Bull of the Norton Simon Museum.
In a patient work that spans almost ten years, Bull removes with his knife the 18th century paintings, certainly made by or for Sykes who had a reputation as a faker and knew how to transform works when it pleased his clients. Bull's work brings to light a superb drawing of the Virgin and Child in the central part, supersedes Elizabeth of York with an ill-preserved drawing of St John the Baptist and restitutes to the false Tudor the attributes of St. Louis.
The expertise continued. Radiographic inspection and infrared reflectography demonstrate that the quality of the under-drawing is homogeneous throughout the surface. All the composite elements resulting from the painstaking work of Bull come from a Renaissance work. The beauty of drawing, painting and colors indicates that this panel is the autograph work of a master.
The comparison of expressive details, such as the face of the Virgin or the study of feet, with works indisputably attributed to Hugo van der Goes is convincing and a dating in the early 1470s is consistent with the dendrochronology of the panel. Hugo was a perfectionist until he fell into madness. He worked in Ghent where he admired the polyptych painted half a century earlier by the van Eyck brothers for the altar of St. Bavon's cathedral.
Please watch the video shared by Christie's :
#Masterpiece : un tableau rare de Hugo Van der Goes fait partie de la vente Old Master Paintings chez @ChristiesInc à New-York le 27 avril pic.twitter.com/tOVgTLUZgW
— Christie's Paris (@christiesparis) March 13, 2017
1493-1495 The Florentine Grace of Sandro Botticelli
2013 SOLD 10.5 M$ including premium
Sandro Botticelli is an empathetic artist. His art will never be outdated. Like Praxiteles and Picasso, he was able to take as a model the most beautiful woman in the world.
Botticelli's life is poorly documented, but his passion for his city, Florence, is the thread.
On January 30 in New York, Christie's sells a Madonna and Child with the young St John. This tempera on panel is estimated $ 5M. Waiting for the catalog, here is the link to the articleshared by Artdaily when this painting was offered for sale at Maastricht in 2010. Of small size, 48 x 38 cm, it was designed for private devotion.
Botticelli's art is not narrative. The scene is by evidence located in Florence, and is not a Biblical story. The presence of John is only meaning that he is the patron saint of Florence. The three characters are graceful and communicate together with ardor. The faces are beautiful.
This work is dated around 1493-1495, the period of transition between the principate of Lorenzo de' Medici and the theocracy of Savonarola. The legend that he had himself brought his secular works in the Bonfire of the Vanities is not confirmed by Vasari, but it seems certain that his career as an artist became difficult afterwards.
POST SALE COMMENT
This small painting typical of the emotional art of Botticelli was sold $ 10.5 million including premium.
The image is shared by Wikimedia.
Botticelli's life is poorly documented, but his passion for his city, Florence, is the thread.
On January 30 in New York, Christie's sells a Madonna and Child with the young St John. This tempera on panel is estimated $ 5M. Waiting for the catalog, here is the link to the articleshared by Artdaily when this painting was offered for sale at Maastricht in 2010. Of small size, 48 x 38 cm, it was designed for private devotion.
Botticelli's art is not narrative. The scene is by evidence located in Florence, and is not a Biblical story. The presence of John is only meaning that he is the patron saint of Florence. The three characters are graceful and communicate together with ardor. The faces are beautiful.
This work is dated around 1493-1495, the period of transition between the principate of Lorenzo de' Medici and the theocracy of Savonarola. The legend that he had himself brought his secular works in the Bonfire of the Vanities is not confirmed by Vasari, but it seems certain that his career as an artist became difficult afterwards.
POST SALE COMMENT
This small painting typical of the emotional art of Botticelli was sold $ 10.5 million including premium.
The image is shared by Wikimedia.
mid 1490s Virgin and Child at the Time of Savonarola
2013 SOLD 13 M$ including premium
On January 30 in New York, Christie's sells a small tondo by Fra Bartolommeo, on the subject of Virgin and Child. Still remaining in its original frame, this oil on panel is estimated $ 10M. It is a recent discovery.
The likely date proposed by the auction house, the mid-1490s, is the era of the iconoclastic dictatorship of Savonarola, the preacher of repentance.
The relationship between art and Christianity were already an intense concern in Florence at the end of the glorious principate of Lorenzo de' Medici. The dying Lorenzo had doubts about the merits of his work, and chose (but unsuccessfully) Savonarola as his last confessor.
Savonarola, whose memory of his bonfires horrifies the art lovers of today, was chasing the vanities. Botticelli's mythological works have sunk therein. But he did not reject art when it glorified the Christian virtues.
Baccio della Porta, born in 1472, is a young artist whose skills are already recognized. Becoming an avid follower of Savonarola, he directs his art in accordance with the theocratic vision of his guru of whom he will also execute a very famous portrait.
It was only in 1500, when Baccio became the Dominican friar Fra Bartolomeo (or Fra Bartolommeo), that he will abandon his activity as an artist for a long period, before brilliantly resuming his brushes at the time of Raphael.
The tondo for sale is a very charming example of Christian art. The naked child rises to the mother's neck for a kiss. Empathy is intense between mother and child. The tondo format, as circular as a halo, contributes to the perfection of this nicely composed image.
POST SALE COMMENT
Deserved result for this very attractive painting by Fra Bartolommeo: $ 13M including premium.
Size of the tondo : 65 cm diameter.
The image is shared by Wikimedia.
The likely date proposed by the auction house, the mid-1490s, is the era of the iconoclastic dictatorship of Savonarola, the preacher of repentance.
The relationship between art and Christianity were already an intense concern in Florence at the end of the glorious principate of Lorenzo de' Medici. The dying Lorenzo had doubts about the merits of his work, and chose (but unsuccessfully) Savonarola as his last confessor.
Savonarola, whose memory of his bonfires horrifies the art lovers of today, was chasing the vanities. Botticelli's mythological works have sunk therein. But he did not reject art when it glorified the Christian virtues.
Baccio della Porta, born in 1472, is a young artist whose skills are already recognized. Becoming an avid follower of Savonarola, he directs his art in accordance with the theocratic vision of his guru of whom he will also execute a very famous portrait.
It was only in 1500, when Baccio became the Dominican friar Fra Bartolomeo (or Fra Bartolommeo), that he will abandon his activity as an artist for a long period, before brilliantly resuming his brushes at the time of Raphael.
The tondo for sale is a very charming example of Christian art. The naked child rises to the mother's neck for a kiss. Empathy is intense between mother and child. The tondo format, as circular as a halo, contributes to the perfection of this nicely composed image.
POST SALE COMMENT
Deserved result for this very attractive painting by Fra Bartolommeo: $ 13M including premium.
Size of the tondo : 65 cm diameter.
The image is shared by Wikimedia.
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1511 The Altarpiece of a Saxon Donor
2012 SOLD 4.3 M£ including premium
On July 4 in London, Sotheby's sells a set of five oil paintings assembled into a folding triptych. The origin is known: these paintings were done shortly after the death in 1511 of a wealthy Saxon named Jobst von Feilitzsch to adorn the altar of his private chapel, and were kept in the family during four centuries and a half.
The central panel, 88 x72 cm, shows St. Anne with the Virgin and Child. The external and internal panels of the wings, 91 x 33 cm, are showing saints along with a postmortem portrait of the donor.
These portraits are beautiful. All these characters have a strong psychological dimension, as we perfectly appreciate when revealing the artist: Lucas Cranach the elder, himself, perhaps without the participation of his studio. At that time, the master had doubtless already assimilated the influence of Raphael.
The arrangement of these five works in a folding triptych seems natural, yet it is unclear what was the original presentation. In the seventeenth century, they had been reframed as a single row. It is remarkable that they were never separated. The set is estimated £ 4M.
POST SALE COMMENT
Atypical lots are difficult to sell. Sold £ 4.3M including premium, this one remained just below its lower estimate.
I invite you to play the video in which Sotheby's has grouped this lot with a painting by Hans Baldung Grien.
Baldung Grien's painting presented in this video was sold £ 2.1 million including premium.
The central panel, 88 x72 cm, shows St. Anne with the Virgin and Child. The external and internal panels of the wings, 91 x 33 cm, are showing saints along with a postmortem portrait of the donor.
These portraits are beautiful. All these characters have a strong psychological dimension, as we perfectly appreciate when revealing the artist: Lucas Cranach the elder, himself, perhaps without the participation of his studio. At that time, the master had doubtless already assimilated the influence of Raphael.
The arrangement of these five works in a folding triptych seems natural, yet it is unclear what was the original presentation. In the seventeenth century, they had been reframed as a single row. It is remarkable that they were never separated. The set is estimated £ 4M.
POST SALE COMMENT
Atypical lots are difficult to sell. Sold £ 4.3M including premium, this one remained just below its lower estimate.
I invite you to play the video in which Sotheby's has grouped this lot with a painting by Hans Baldung Grien.
Baldung Grien's painting presented in this video was sold £ 2.1 million including premium.
1515-1523 Holy Family by Gerard David
2018 SOLD for £ 4.85M including premium by Christie's
#AuctionUpdate ‘The Holy Family’ by Gerard David soars above the estimate, achieving £4,846,250, setting a new #WorldAuctionRecord for the artist at auction. pic.twitter.com/9lkwfc4212
— Christie's (@ChristiesInc) July 5, 2018
1520 Virgin and Child by Gossaert
2015 SOLD for £ 4.6M including premium by Sotheby's
1530 Early Preaching
2018 SOLD for $ 3.4M including premium
Jan Gossaert or Gossart is also known as Jan Mabuse from his hometown of Maubeuge in Hainaut. A short stay in Rome in 1508-1509 enables him to compare the treatment of the emotions by the movement in antique and modern art, with the examples of the Laocoon discovered two years earlier and of the recent advances by Michelangelo.
He then settled in Middelburg and spread Mannerist tastes in Holland and Flanders. His mythological nudes are daring for the time. He paints many portraits.
On December 9, 2015, Sotheby's sold for £ 4.6M including premium a Virgin and Child painted around 1520 on 39 x 27 cm panel.
Mary is a young woman in an attitude of quiet adoration. All the Mannerism is in the attitude of the naked child ready to escape from the hands of his mother for convincing the world. The child's hand catching the chin of his mother creates an emotional link although he does not look at her.
Later the child becomes exuberant. He is displayed at the same early age but his attitude has become a preaching with a speaking mouth and a raised arm. His skills exceeding his apparent age are confirmed by the aging of his musculature and hair. The thoughtful mother is no longer smiling.
This oil on panel 45 x 34 cm painted around 1530 was sold for CHF 2,37M including premium by Koller on March 28, 2014. It had been discussed in this column before the sale. It is estimated $ 3M for sale by Christie's in New York on April 19, lot 48.
He then settled in Middelburg and spread Mannerist tastes in Holland and Flanders. His mythological nudes are daring for the time. He paints many portraits.
On December 9, 2015, Sotheby's sold for £ 4.6M including premium a Virgin and Child painted around 1520 on 39 x 27 cm panel.
Mary is a young woman in an attitude of quiet adoration. All the Mannerism is in the attitude of the naked child ready to escape from the hands of his mother for convincing the world. The child's hand catching the chin of his mother creates an emotional link although he does not look at her.
Later the child becomes exuberant. He is displayed at the same early age but his attitude has become a preaching with a speaking mouth and a raised arm. His skills exceeding his apparent age are confirmed by the aging of his musculature and hair. The thoughtful mother is no longer smiling.
This oil on panel 45 x 34 cm painted around 1530 was sold for CHF 2,37M including premium by Koller on March 28, 2014. It had been discussed in this column before the sale. It is estimated $ 3M for sale by Christie's in New York on April 19, lot 48.
1560 Quiet Mysticism of Titian
2011 SOLD 16.9 M$ including premium
In the later Renaissance, it is difficult to imagine a more complete painter than Titian. His great mythological or religious scenes offer the full range of psychological expression from violence to peace.
At the end of his life, his creativity is much alive, but he has nothing more to prove to increase his fame. Painter of sensuality and characters, he became the painter of the passions.
Circa 1560, he painted A Sacra Conversazione, also known as the Mystical Marriage of St. Catherine. We really catch the intelligence being transferred between the Child Jesus, held by his mother, and Catherine of Alexandria. The Child is active and friendly, Catherine is serious and focused, the Madonna encourages the movement of Jesus. St Luke, standing, is carefully watching.
This large painting on canvas, 128 x 170 cm, is estimated $ 15M, for sale at Sotheby's in New York on January 27. It is illustrated on the press release shared by Artdaily.
There is no doubt about the importance of this work. Already in the 1620s, it had the honor to draw the attention of Van Dyck, who made a sketch of it in a notebook now preserved at the British Museum.
POST SALE COMMENT
As expected, this beautiful Titian dominated the week of ancient art sales in New York. Sold $ 16.9 million including premium, it does not, however, exceed its estimate.
I invite you to play the video shared on the web by Sotheby's. The image is shared by Wikimedia.
At the end of his life, his creativity is much alive, but he has nothing more to prove to increase his fame. Painter of sensuality and characters, he became the painter of the passions.
Circa 1560, he painted A Sacra Conversazione, also known as the Mystical Marriage of St. Catherine. We really catch the intelligence being transferred between the Child Jesus, held by his mother, and Catherine of Alexandria. The Child is active and friendly, Catherine is serious and focused, the Madonna encourages the movement of Jesus. St Luke, standing, is carefully watching.
This large painting on canvas, 128 x 170 cm, is estimated $ 15M, for sale at Sotheby's in New York on January 27. It is illustrated on the press release shared by Artdaily.
There is no doubt about the importance of this work. Already in the 1620s, it had the honor to draw the attention of Van Dyck, who made a sketch of it in a notebook now preserved at the British Museum.
POST SALE COMMENT
As expected, this beautiful Titian dominated the week of ancient art sales in New York. Sold $ 16.9 million including premium, it does not, however, exceed its estimate.
I invite you to play the video shared on the web by Sotheby's. The image is shared by Wikimedia.
1587-1588 The Eyes of the Counter-Reformation
2019 SOLD for $ 6.1M including premium
The brothers Agostino and Annibale Carracci and their cousin Ludovico Carracci found in 1585 in Bologna an Academy for reacting against Mannerism. This initiative is well received by the Counter-Reformation that feels the need to make art more appealing to the faithful. In this school which is not a mere workshop, the three founders set to work. The attribution of an unsigned painting to one or the other is sometimes difficult.
Annibale is the youngest and the most innovative. Following the examples by Correggio and Titian, he captures a moment of intimacy shared by the characters in an intense mystical action. An Annunciation 135 x 98 cm was sold for $ 3.45M including premium by Christie's on January 30, 2013.
Like the Annunciation, the mystical marriage of St. Catherine and the offering of St. Lucy are non-violent themes that are well suited to express exemplary emotions. St. John the Baptist plays a pleasant role as an accomplice to the Holy Family.
On May 1 in New York, Christie's sells a Madonna and Child welcoming St. Lucy, oil on panel 79 x 63 cm painted by Annibale Carracci around 1587-1588, lot 26 estimated $ 3M.
Formerly attributed to one of his pupils, this work was sold for £ 770K before fees by Phillips on December 8, 1987. Re-attributed to the master during that auction with the help of Richard L. Feigen, it is one of four works from his collection which are discussed in the video shared by the auction house.
This composition stages five characters. The faces are young and beautiful. St. Lucy is kneeling to present her eyes on a platter and holds in her other hand the palm of the martyrs. She is encouraged by an angel. The Child and his Mother look at the eyes with a serene curiosity totally devoid of fear. Turned to the public, St. John announces the miracle by pointing the platter with his finger.
Annibale is the youngest and the most innovative. Following the examples by Correggio and Titian, he captures a moment of intimacy shared by the characters in an intense mystical action. An Annunciation 135 x 98 cm was sold for $ 3.45M including premium by Christie's on January 30, 2013.
Like the Annunciation, the mystical marriage of St. Catherine and the offering of St. Lucy are non-violent themes that are well suited to express exemplary emotions. St. John the Baptist plays a pleasant role as an accomplice to the Holy Family.
On May 1 in New York, Christie's sells a Madonna and Child welcoming St. Lucy, oil on panel 79 x 63 cm painted by Annibale Carracci around 1587-1588, lot 26 estimated $ 3M.
Formerly attributed to one of his pupils, this work was sold for £ 770K before fees by Phillips on December 8, 1987. Re-attributed to the master during that auction with the help of Richard L. Feigen, it is one of four works from his collection which are discussed in the video shared by the auction house.
This composition stages five characters. The faces are young and beautiful. St. Lucy is kneeling to present her eyes on a platter and holds in her other hand the palm of the martyrs. She is encouraged by an angel. The Child and his Mother look at the eyes with a serene curiosity totally devoid of fear. Turned to the public, St. John announces the miracle by pointing the platter with his finger.
