UGOLINO DI NERIO* (active 1317-1339/49)

細節

UGOLINO DI NERIO* (active 1317-1339/49)

Saint Andrew

tempera on gold ground panel
28¼ x 16 1/8in. (71.7 x 40.9cm.)

來源

possibly Freihher von Quast, Silesia
possibly Ball, New York, 1950
with Julius Böhler, Munich until 1959
Mr. and Mrs. Thomas S. Hyland; sale, Christie's, London, June 23, 1967, lot 65 (unsold)
with Thomas S. Hyland, Greenwich, Connecticut from whom purchased by the museum in 1970

出版

M. Skuÿbiszewska O Kilku nieznanych xczesnych obrazach wloskich w zbiorah Pozanskich, Biuletyn Historii Sztu, ,XXIi, 1961, no. 1, þp. 27-28, fig. 2
B. Berenson, Italian Pictures of the Renaissance: Central and North Italian Schools, I, 1968, p. 438
B. Fredericksen, Catalogue of the Paintings in the J. Paul Getty Museum, 1972, p. 3, no. 2
J.H. Stubblebine, Duccio di Buonisegna and his School, I, 1979, pp. 40-41, 172-173; II, fig. 425
E. Carli, La Pittura Senese del Trecento, 1981, p. 80
L. Kanter, Ugolino di Nerio: Saint Anne and the Virgin, National Gallery of Canada, Bulletin, 5, 1981/2, pp. 16-17, 19, 22, notes 21 and 22, illustrated p. 18, fig. 9
L. Kanter, March 1988, unpublished manuscript for the Museum of Fine Arts, Boston, Italian Paintings catalogue, entry for 'Ugolino di Nerio, Madonna and Child'

拍品專文

According to Kanter (loc. cit.) the present lot can be identified as a panel of a dismembered polyptych which included 'St. John the Baptist' (National Museum, Poznan, Poland, no. 546) and 'St. Eustochium' (ex-Lycett Green, York, England); a third lateral is still untraced. Although Kanter (ibid.) tentatively associates these panels with the Museum of Fine Arts, Boston 'Madonna and Child', based on their similarity in style and compatibility of size, he now believes that "any physical evidence of its (i.e. the Boston Madonna's) possible association with the Getty and Poznan panels has been lost" due to the regilding of these panels. However, Kanter notes that the present lot, the Poznan 'St. John', the ex-Lycett Green 'St. Eustochium' and the Boston 'Madonna' do share a similar punchwork pattern (seen in the outermost double ring of the haloes which is filled with a course of tightly aligned small circular punches creating the effect of a beaded necklace) which is present in only these panels