拍品專文
Although the traditional attribution was endorsed in 1969 by both Sir Denis Mahon and Professor Andrea Emiliani, this picture has until now evaded publication. As Sir Denis observes, it is evidently of the early years of Carracci's Roman period, circa 1597/8. A receipt of 1799 from Captain Baillie for a Madonna and Child by Annibale Carracci acquired by the 1st Marquess is recorded: as there is no reference to any saints it seems unlikely that this relates to the present picture but the possibility cannot be excluded.
The early history of the present painting is unknown, but the group of attendant saints may one day lead to the identity of the original owner.
In spite of the domestic informality of the Madonna's work basket at the feet, the fact that she and two of the three saints have books suggests a learned patron. The most prominent member of the trio is Saint Lucy, who kneels in supplication before the Infant Christ, her book and palm of martyrdom discarded at her feet, and proffers her eyes on a small tazza. The Child reaches out towards them with as much enthusiasm as if he were receiving gifts from the Magi. Beyond this group are Saint Dominic, immediately recognisable by virtue of his habit and attributes of book and lily, and a royal Saint, who must be Louis of France, since his brocaded mantle and the tip of his sceptre are adorned by fleurs-de-lis. The asymmetrical organisation of the composition, combined with sober classical architecture and an ideal landscape beyond - which is also found in the Madonna and Child with Saint Francis (formerly in the collection of Sir John Pope-Hennessy (D. Posner, Annibale Carracci, London, 1971, II, pl. 99a) - typical of Annibale's early Roman years.
The early history of the present painting is unknown, but the group of attendant saints may one day lead to the identity of the original owner.
In spite of the domestic informality of the Madonna's work basket at the feet, the fact that she and two of the three saints have books suggests a learned patron. The most prominent member of the trio is Saint Lucy, who kneels in supplication before the Infant Christ, her book and palm of martyrdom discarded at her feet, and proffers her eyes on a small tazza. The Child reaches out towards them with as much enthusiasm as if he were receiving gifts from the Magi. Beyond this group are Saint Dominic, immediately recognisable by virtue of his habit and attributes of book and lily, and a royal Saint, who must be Louis of France, since his brocaded mantle and the tip of his sceptre are adorned by fleurs-de-lis. The asymmetrical organisation of the composition, combined with sober classical architecture and an ideal landscape beyond - which is also found in the Madonna and Child with Saint Francis (formerly in the collection of Sir John Pope-Hennessy (D. Posner, Annibale Carracci, London, 1971, II, pl. 99a) - typical of Annibale's early Roman years.