拍品 104
104
DON SILVESTRO DEI GHERARDUCCI (FLORENCE 1339-1399)
DON SILVESTRO DEI GHERARDUCCI (FLORENCE 1339-1399)
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PROPERTY FROM THE DESCENDANTS OF DR. ANTON F. PHILIPS
DON SILVESTRO DEI GHERARDUCCI (FLORENCE 1339-1399)

The Madonna of Humility

細節
DON SILVESTRO DEI GHERARDUCCI (FLORENCE 1339-1399)
The Madonna of Humility
tempera on gold ground panel with its original painted faux porphyry reverse, in an engaged frame
14 3⁄8 x 11 3⁄8 in. (36.5 x 28.8 cm.)
來源
Odoardo Winspeare, from whom acquired by the following,
with Achille de Clemente, Florence, 1933, as 'Attributed to Andrea di Bartolo'.
Dr. Anton F. Philips (1874–1951), Eindhoven, and by descent.
出版
D.C. Shorr, The Christ Child in Devotional Images in Italy during the XIV Century, New York, 1954, pp. 74, 89, Type 10 (Simonesque type), Florence no. 7, illustrated, as 'Master of the Cionesque Humility'.
M. Boskovits, Pittura Fiorentina alla vigilia del Rinascimento 1370-1400, Florence, 1975, p. 422.
R. Offner, A Critical and Historical Corpus of Florentine Painting, H. Maginnis, ed., A Legacy of Attributions, The Fourteenth Century, supplement, New York, 1981, p. 31, fig. 58, as 'Don Silvestro dei Gherarducci (Master of the Cionesque Humility)'.
M. Eisenberg, Lorenzo Monaco, Princeton, 1989, p. 92.
G. Freuler, A Critical and Historical Corpus of Florentine Painting, M. Boskovits, ed., Section IV, VII, Part II, Tendencies of Gothic in Florence: Don Silvestro dei Gherarducci, Florence, 1997, pp. 420-421, pl. XLIV.

榮譽呈獻

Lucy Speelman
Lucy Speelman Junior Specialist, Head of Part II
+44 207 752 3074

拍品專文


As Miklós Boskovits and Federico Zeri recognised and Andrea De Marchi confirms, this is a relatively early work by Don Silvestro dei Gherarducci, the Camaldolese monk at Santa Maria degli Angeli who was one of the most impressive artists of the late trecento in Florence. It is a relatively early work, datable as Boskovits observed to about 1375-80. As this panel demonstrates, Andrea Orcagna and his brother Jacopo di Cione were dominant influences in his early career as a painter; and Don Silvestro was in turn through the illuminations he made for the choirbooks of his monastery to influence Don Lorenzo Monaco and through him Fra Angelico. He was unquestionably the outstanding Florentine illuminator of his generation.

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