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Lot 3 PROPERTY FROM A PRIVATE COLLECTION
The Master of San Lucchese (Florence, active circa 1350-70)
A portable triptych: the central panel: The Madonna and Child enthroned with twelve Saints, God the Father above; the left wing: The Adoration of the Magi, with the Angel of the Annunciation above: the right wing: The Crucifixion, with the Virgin Annunciate above; the outer faces decorated with trompe l'oeil intarsia doors (see fig. 1)
Closed8 July 2008
Price Realised
GBP 301,250
More Information
Specialist note
Bernard Berenson wrote of this picture in 1931:
'Then there is a triptych which harks back to Daddi, but has much in common with Jacopo di Cione and Niccolò di Tommaso, but so much more still with Giovanni dal Biondo that it will be well for the student who means to write a monograph on this painter to give it his attention.'
Subsequently ascribed to Giovanni dal Biondo, this triptych was recognised by Everett Fahy - to whom we are indebted - as the work of the Master of San Lucchese. This artist, who was strongly influenced by Bernardo Daddi, was first isolated by Richard Offner. The list of pictures he intended to publish in the corpus, which included this triptych, was significantly amplified by Miklòs Boskovits in 1975.
Since the photograph published by Berenson was taken, the carved leaves and cornice of the gable as well as the base have been replaced.
'Then there is a triptych which harks back to Daddi, but has much in common with Jacopo di Cione and Niccolò di Tommaso, but so much more still with Giovanni dal Biondo that it will be well for the student who means to write a monograph on this painter to give it his attention.'
Subsequently ascribed to Giovanni dal Biondo, this triptych was recognised by Everett Fahy - to whom we are indebted - as the work of the Master of San Lucchese. This artist, who was strongly influenced by Bernardo Daddi, was first isolated by Richard Offner. The list of pictures he intended to publish in the corpus, which included this triptych, was significantly amplified by Miklòs Boskovits in 1975.
Since the photograph published by Berenson was taken, the carved leaves and cornice of the gable as well as the base have been replaced.