Sold by Order of THE TRUSTEES OF THE CAPESTHORNE MAINTENANCE FUND
No Description (5)
Details
No Description (5)
Provenance
Probably painted for the Lupicini Chapel in the Church of Santa Croce, Florence (see note below)
William Young Ottley (1771-1836), by whom presumably purchased in Italy, possibly from the monks of Santa Croce
Warner Ottley (+); sale, Foster's, London, 30 June 1847, lot 13, as Giotto (125gns. to Davenport Bromley)
The Rev. Walter Davenport Bromley (1787-1863), Wootton Hall, Staffordshire; (+) Christie's, 13 June 1863 (= 2nd day), lot 138, as Ambrogio Lorenzetti (28gns. to Hawkins); i.e. bought back, and by descent at Capesthorne Hall, near Macclesfield, Cheshire
William Young Ottley (1771-1836), by whom presumably purchased in Italy, possibly from the monks of Santa Croce
Warner Ottley (+); sale, Foster's, London, 30 June 1847, lot 13, as Giotto (125gns. to Davenport Bromley)
The Rev. Walter Davenport Bromley (1787-1863), Wootton Hall, Staffordshire; (+) Christie's, 13 June 1863 (= 2nd day), lot 138, as Ambrogio Lorenzetti (28gns. to Hawkins); i.e. bought back, and by descent at Capesthorne Hall, near Macclesfield, Cheshire
Literature
G. F. Waagen, Works of Art and Artists in England, 1838, II, p.124 'ascribed to Giotto ... a good picture of his school' G. F. Waagen, Treasures of Art in Great Britain, 1854, III, p.377, as Ambrogio Lorenzetti
B. Berenson, Italian Pictures of the Renaissance: Florentine School, 1963, I, p.83 and pl.78, under 'Giotto's anonymous contemporaries and immediate followers'
F. Zeri, Italian Primitives at Messrs Wildenstein, The Burlington Magazine, CVII, no.746, May 1965, p.252 and p.230, fig.1
R. Longhi, Una 'riconsiderazione' dei primitivi italiani a Londra, Paragone, XVI, no.183, 1965, p.15
C. Previtali, Giotto e la sua bottega, 1967, pp.116 and 144, note 224
J. Stubblebine, Segna di Bonaventura and the Image of the Man of Sorrows, Gesta, VIII, 2, 1969, pp.9, 10, fig.14, 11 and 13, note 54
F. Bologna, Novità su Giotto, 1969, pp.24-5, 84, note 3, and 94-6 A. Conti, Pittori in Santa Croce: 1295-1345, Annali della Scuola Normale Superiore di Pisa - Classe di Lettere e Filosofia, ser.3, no.2, 1972, p.256
M. Gregori, Sul polittico Bromley Davenport di Taddeo Gaddi e sulla sua originaria collocazione, Paragone, 25, no.297, 1974, pp.73-83
M. Boskovits, Pittura Fiorentina alla vigilia del Rinascimento, 1975, p.192, note 10
M. Ferretti, Una croce dipinta a Lucca, Taddeo Gaddi, un nodo di tradizione giottesca, Paragone, 27, no.317, 1976, pp.23-4
A. Ladis, Taddeo Gaddi. Critical Reappraisal and Catalogue Raisonné, 1982, pp.20-2, 82, 84-5, 86, 193, 202 and 203, no.2, illustrated twice
J. Gardner, Review of 'Taddeo Gaddi' by Andrew Ladis, The Burlington Magazine, CXXVI, no.978, Sept.1984, p.572
F. Russell, A Means to Devotion. Italian Art and the Clerical Connoisseur, Country Life, 5 Dec. 1985, p.1749
S. Ricci, Taddeo Gaddi in La Pittura in Italia. Il Duecento e il Trecento, ed. E. Castelnuovo, 1986, II, p.573
M. Boskovits, The Thyssen-Bornemisza Collection: Early Italian Paintings 1290-1470, 1990, pp.94-5
B. Berenson, Italian Pictures of the Renaissance: Florentine School, 1963, I, p.83 and pl.78, under 'Giotto's anonymous contemporaries and immediate followers'
F. Zeri, Italian Primitives at Messrs Wildenstein, The Burlington Magazine, CVII, no.746, May 1965, p.252 and p.230, fig.1
R. Longhi, Una 'riconsiderazione' dei primitivi italiani a Londra, Paragone, XVI, no.183, 1965, p.15
C. Previtali, Giotto e la sua bottega, 1967, pp.116 and 144, note 224
J. Stubblebine, Segna di Bonaventura and the Image of the Man of Sorrows, Gesta, VIII, 2, 1969, pp.9, 10, fig.14, 11 and 13, note 54
F. Bologna, Novità su Giotto, 1969, pp.24-5, 84, note 3, and 94-6 A. Conti, Pittori in Santa Croce: 1295-1345, Annali della Scuola Normale Superiore di Pisa - Classe di Lettere e Filosofia, ser.3, no.2, 1972, p.256
M. Gregori, Sul polittico Bromley Davenport di Taddeo Gaddi e sulla sua originaria collocazione, Paragone, 25, no.297, 1974, pp.73-83
M. Boskovits, Pittura Fiorentina alla vigilia del Rinascimento, 1975, p.192, note 10
M. Ferretti, Una croce dipinta a Lucca, Taddeo Gaddi, un nodo di tradizione giottesca, Paragone, 27, no.317, 1976, pp.23-4
A. Ladis, Taddeo Gaddi. Critical Reappraisal and Catalogue Raisonné, 1982, pp.20-2, 82, 84-5, 86, 193, 202 and 203, no.2, illustrated twice
J. Gardner, Review of 'Taddeo Gaddi' by Andrew Ladis, The Burlington Magazine, CXXVI, no.978, Sept.1984, p.572
F. Russell, A Means to Devotion. Italian Art and the Clerical Connoisseur, Country Life, 5 Dec. 1985, p.1749
S. Ricci, Taddeo Gaddi in La Pittura in Italia. Il Duecento e il Trecento, ed. E. Castelnuovo, 1986, II, p.573
M. Boskovits, The Thyssen-Bornemisza Collection: Early Italian Paintings 1290-1470, 1990, pp.94-5
Exhibited
London, Wildenstein's, The Art of Painting in Florence and Siena from 1250 to 1500, 24 Feb.-10 April 1965, p.3, no.1, and fig.1 (on loan), as the work of a Florentine Contemporary of Giotto