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Lot Essay
The identity of the Neapolitan painter known as the Master of the Annunciation to the Shepherds has been constantly debated since the 1920s, when August L. Mayer first distinguished this artist's hand in a painting (City Art Gallery, Birmingham, England) that was formerly attributed to Velázquez.
John T. Spike ('Naples. Battistello Caracciolo and Neapolitan Painting', in The Burlington Magazine, February 1992, pp. 139-41) advanced the theory that the Master of the Annunciation to the Shepherds was in fact Bartolomeo Passante, a Neapolitan painter who achieved considerable recognition despite his short life. He points out that the widespread confusion between the names of Passante and of Bartolomeo Bassante, a lesser artist, did not begin until well after their lifetimes.
Giuseppe de Vito (op. cit., pp. 7-62) suggests instead that the Master of the Annunciation to the Shepherds was Juan Do, a painter close to Ribera. Do was born in Valentia and subsequently moved to Naples, where he is recorded for the first time in 1626.
The present work is a fine and characteristic treatment of one of the Master of the Annunciation to the Shepherds' favorite subjects. Alfred Moir suggested that this painting might be by a northern artist such as Giovanni Serodine or Giocchino Asseretto (written communication, 3 March 1964); however, Robert Longhi attributed it instead to the Master of the Annunciation to the Shepherds, an opinion endorsed by Professor Riccardo Lattuada.
We are grateful to Dr. John T. Spike for confirming the attribution on the basis of a color transparency (written communication, 6 April 2005). We are also grateful to Professor Nicola Spinosa for confirming the attribution on the basis of a color transparency (written communication, 11 April 2005).
John T. Spike ('Naples. Battistello Caracciolo and Neapolitan Painting', in The Burlington Magazine, February 1992, pp. 139-41) advanced the theory that the Master of the Annunciation to the Shepherds was in fact Bartolomeo Passante, a Neapolitan painter who achieved considerable recognition despite his short life. He points out that the widespread confusion between the names of Passante and of Bartolomeo Bassante, a lesser artist, did not begin until well after their lifetimes.
Giuseppe de Vito (op. cit., pp. 7-62) suggests instead that the Master of the Annunciation to the Shepherds was Juan Do, a painter close to Ribera. Do was born in Valentia and subsequently moved to Naples, where he is recorded for the first time in 1626.
The present work is a fine and characteristic treatment of one of the Master of the Annunciation to the Shepherds' favorite subjects. Alfred Moir suggested that this painting might be by a northern artist such as Giovanni Serodine or Giocchino Asseretto (written communication, 3 March 1964); however, Robert Longhi attributed it instead to the Master of the Annunciation to the Shepherds, an opinion endorsed by Professor Riccardo Lattuada.
We are grateful to Dr. John T. Spike for confirming the attribution on the basis of a color transparency (written communication, 6 April 2005). We are also grateful to Professor Nicola Spinosa for confirming the attribution on the basis of a color transparency (written communication, 11 April 2005).