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The Crucifixion
Details
MASTER OF THE DOTTO CHAPEL (ACTIVE PADUA C. 1270-1315)
The Crucifixion
tempera on gold ground panel
6 5/8 x 7 1/8 in. (17 x 18.2 cm.)
The Crucifixion
tempera on gold ground panel
6 5/8 x 7 1/8 in. (17 x 18.2 cm.)
Provenance
D'Atri collection, Paris.
Anonymous sale; Paris, Hôtel Drouot, 18 May 1973, lot C, illustrated, as 'Sienese School, end of the 14th Century'.
with Adolphe Stein, Paris, by 1976-1977.
Baron Hans-Henirich Thyssen-Bornemisza, and by descent.
Anonymous sale; Paris, Hôtel Drouot, 18 May 1973, lot C, illustrated, as 'Sienese School, end of the 14th Century'.
with Adolphe Stein, Paris, by 1976-1977.
Baron Hans-Henirich Thyssen-Bornemisza, and by descent.
Literature
F. Zeri, 'Early Italian Pictures in the Kress Collection', Burlington Magazine, CX, 1967, p. 474, fig. 55, as Venetian School, 13th or 14th Century.
F. Rusk Shapley, Paintings from the Samuel H. Kress Collection. Italian Schools, XVl-XVllI Centuries, London, 1973, p. 381, as Venetian School, circa 1300.
M. Boskovits, 'Cenni di Pepe (Pepo), detto Cimabue', Dizionario biografico degli Italiani, XXID, Rome, 1979, p. 541.
M. Scudieri, 'Maggi', La Fondazione Roberto Longhi a Firenze, Milan, 1980, pp. 238-239.
G. Borghero, ed., Thyssen-Bornemisza Collection Catalogue Raisonné of the Exhibited Works of Art, Milan, 1981 and 1986, p. 216 pl. 208a, as Venice Master circa 1300.
J. Pope-Hennessy, 'Some Italian Primitives', Apollo, CVIII, no. 3, 1983, p. 12 and 14, fig. 3.
A. Tartuferi, 'Pittura fiorentina del Duecento', La Pittura in Italia: Le origini, Milan,1985, pp. 236 and 240, note 42.
A. Tartuferi, La Pittura in Italia: Duecento e Trecento, Milan, 1986, pp. 278 and 282, note 40.
L. C. Marques, La peinture du Duecento en Italie Centrale, Paris, 1987, p. 244, note 174.
M. Boskovits, The Thyssen-Bornemisza Collection: Early Italian painting 1290-1470, London, 1990, pp. 131-133, no. 21, illustrated, as Master of the Dotto Chapel.
F. Rusk Shapley, Paintings from the Samuel H. Kress Collection. Italian Schools, XVl-XVllI Centuries, London, 1973, p. 381, as Venetian School, circa 1300.
M. Boskovits, 'Cenni di Pepe (Pepo), detto Cimabue', Dizionario biografico degli Italiani, XXID, Rome, 1979, p. 541.
M. Scudieri, 'Maggi', La Fondazione Roberto Longhi a Firenze, Milan, 1980, pp. 238-239.
G. Borghero, ed., Thyssen-Bornemisza Collection Catalogue Raisonné of the Exhibited Works of Art, Milan, 1981 and 1986, p. 216 pl. 208a, as Venice Master circa 1300.
J. Pope-Hennessy, 'Some Italian Primitives', Apollo, CVIII, no. 3, 1983, p. 12 and 14, fig. 3.
A. Tartuferi, 'Pittura fiorentina del Duecento', La Pittura in Italia: Le origini, Milan,1985, pp. 236 and 240, note 42.
A. Tartuferi, La Pittura in Italia: Duecento e Trecento, Milan, 1986, pp. 278 and 282, note 40.
L. C. Marques, La peinture du Duecento en Italie Centrale, Paris, 1987, p. 244, note 174.
M. Boskovits, The Thyssen-Bornemisza Collection: Early Italian painting 1290-1470, London, 1990, pp. 131-133, no. 21, illustrated, as Master of the Dotto Chapel.
Special notice
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Sale room notice
Please note that lots 15, 16 and 17 which were not marked with a symbol in the catalogue, are now subject to a minimum price guarantee and have been financed by a third party who is bidding on these lots and may receive a financing fee from Christie’s. Please see the Conditions of Sale for further information.
Brought to you by
Clementine Sinclair
Senior Director, Head of Department