THE PROPERTY OF A PRIVATE COLLECTOR

Master called 'Niccolò Cartoni' (active Florence, early 16th Century), after Fillipino Lippi and Perugino

The Deposition

细节

Master called 'Niccolò Cartoni' (active Florence, early 16th Century), after Fillipino Lippi and Perugino
The Deposition
tempera and oil on panel
22 x 16¾ in. (55.9 x 42.5 cm.)

来源

with Julius Böhler by 1912.

出版

G. Gronau, 'Ein Bildentwurf von Filippino Lippi', in Zeitschrift für bildende Kunst 60, 1926/7, pp. 22-4, as 'Filippino Lippi'.
A. Scharf, Filippino Lippi, Vienna, 1935, pp. 107-8, under 28b.
K. Neilson, Filippino Lippi: A Critical Study, Cambridge, 1938, pp. 180-1.
J. Nelson, The Later Works of Filippino Lippi from his Roman Sojourn until his death (ca. 1489-1504), PhD dissertation, Institute of Fine Arts, New York University, New York, 1992, p. 315.
P. Zambrano and J.K. Nelson, Filippino Lippi, Milano, 2004, p. 607, no. 65.3, as 'studio of Filippino Lippi'.

登入

浏览状况报告

拍品专文

This painting, together with a version of this composition sold at Christie's (New York, 22 May 1998, lot 66) and another version in the Metropolitan Museum of Art (inv. no. 12.168) records Lippi's design for the central panel of the high altarpiece of the church of Santissima Annunziata, Florence, now in the Accademia, Florence.

We are grateful to Mr. Everett Fahy for suggesting the attribution to Cartoni, also known as The Master of Memphis, as recorded by Jonathan Katz Nelson and Patrizia Zambrano in their 2004 monograph on Filippino Lippi.