Marche school (Camerino) around 1460, follower of the Master - Lot 112

Lot 112
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Marche school (Camerino) around 1460, follower of the Master - Lot 112
Marche school (Camerino) around 1460, follower of the Master of the Annunciation of Spermento in Camerino The Virgin and Child on a throne Egg painting on curved poplar panel Height : 110 cm Width : 38 cm Misses and small accidents The panel has been cut on the vertical edges resulting in the disappearance of part of the arms of the throne and the statuettes that surmounted them. On the reverse side, traces of cutting of the panel in thickness and presence of four nails driven into the thickness of the panel, evidence of the presence of crosspieces now disappeared. This suggests that this panel was probably the centre of a polyptych, the lateral elements of which are missing. The pictorial surface, the missing parts and the restorations are visible, the scapular was added at a late stage. This unusual work offers the vision of a large Madonna seated on a throne whose architecture is decorated with fluting and surmounted by a shell-shaped vault resting on Corinthian capitals of pilasters which are typical elements of the Renaissance vocabulary. The lower part of the throne, on the other hand, rests on a base with an agitated design, corresponding to the sacred domain of the image, separated from the earthly element represented by the vegetal parterre. These indications suggest an artist still imbued with Gothic nostalgia, as is also shown by the undulating movement of the Virgin's mantle, but also concerned with Renaissance novelties. The majesty of the Virgin, seated on a monumental throne, the standing position of the Child on his Mother's lap, the light and luminous complexion and the architectural elements, all point to an artist who saw the beautiful Annunciation of Spermento dated around 1455 (Camerino, Pinacoteca e Musei Civici, inv.14), an artist whose convention name comes from the convent of the Observance of Spermento in the Camerino area. This artist has not yet found his definitive identity, but the latest research hesitantly suggests the name of Giovanni Angelo d'Antonio, documented in Camerino from 1444 to 1470 (cf. Andrea di Lorenzo in Andrea De Marchi and Maria Giannatiempo Lopez in Il Quattrocento a Camerino exhibition Camerino, Convento San Domenico, 19 July-17 November 2002, cat. 37, p. 192-197) This catalogue attributes many works to the Master of the Annunciation of Spermento which allow us to link our panel to the our panel to the pictorial atmosphere around this master (cf. op.cit; cat. 42,49).
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