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拍品专文
Andrea di Bonaiuto, who was influenced by Giotto’s follower, Maso di Banco and was clearly an associate of the most forceful artist of the mid-trecento, Andrea Orcagna, is best known for his ambitious frescoed decoration of the Cappellone degli Spagnoli (the outsize chapter house of Santa Maria Novella), the contract for which he received in 1365. A not insubstantial corpus of small devotional panels is now recognised to be by him.
This panel was clearly the right wing of a small triptych, flanking a representation of the enthroned Madonna. As Dillian Gordon recognised, the punched border - with a central circle framed by six others of the same size - establishes that it was originally surmounted by a panel of the Virgin Annunciate, which, with it pendant of the Angel of the Annunciation, is now in the Museo di Capodimonte, Naples: the two were previously incorrectly associated with the central panel of a similar triptych in the Berenson collection, Villa I Tatti, Settignano.
The figure of Christ is very similar to those in two other Crucifixions from the right wings of triptychs by the artist: one at Cleveland (Museum of Fine Arts, no. 16.766); and the second, like its counterpart of the Nativity, at Houston (Museum of Fine Arts, no. 44-570), both of which were dated 1350-5 by Miklos Boskovits (Pittura Fiorentina alla vigilia del Rinascimento, Florence, 1975, pp. 277-8, figs. 41 and 39/b respectively). Carl Brandon Strehlke suggests a date of about 1365 for this panel, which is of particular iconographic complexity. The Virgin, slumped onto the side of the Magdalene, is assisted by the help of two holy women, while Saint John, deep in grief, turns away; behind him are two Roman soldiers, balancing Longinus, in red, who holds the lance with which he pierced Christ.
Charles Alexander Loeser, whose father Frederick had been a donor to the Metropolitan Museum, studied at Harvard and Berlin before settling in 1890 at Florence, assembling a significant collection in the Villa Gattaia. A benefactor of the Fogg Museum at Harvard and the Palazzo Vecchio in Florence, he had a particular interest in Italian drawings. Sir Thomas Barlow, a businessman who at one time has a significant interest in Colnaghi’s, assembled a notable and wide-ranging collection of Old Master pictures in the post-war period: much of his collection was exhibited at the Whitworth, Manchester in 1968.
This panel was clearly the right wing of a small triptych, flanking a representation of the enthroned Madonna. As Dillian Gordon recognised, the punched border - with a central circle framed by six others of the same size - establishes that it was originally surmounted by a panel of the Virgin Annunciate, which, with it pendant of the Angel of the Annunciation, is now in the Museo di Capodimonte, Naples: the two were previously incorrectly associated with the central panel of a similar triptych in the Berenson collection, Villa I Tatti, Settignano.
The figure of Christ is very similar to those in two other Crucifixions from the right wings of triptychs by the artist: one at Cleveland (Museum of Fine Arts, no. 16.766); and the second, like its counterpart of the Nativity, at Houston (Museum of Fine Arts, no. 44-570), both of which were dated 1350-5 by Miklos Boskovits (Pittura Fiorentina alla vigilia del Rinascimento, Florence, 1975, pp. 277-8, figs. 41 and 39/b respectively). Carl Brandon Strehlke suggests a date of about 1365 for this panel, which is of particular iconographic complexity. The Virgin, slumped onto the side of the Magdalene, is assisted by the help of two holy women, while Saint John, deep in grief, turns away; behind him are two Roman soldiers, balancing Longinus, in red, who holds the lance with which he pierced Christ.
Charles Alexander Loeser, whose father Frederick had been a donor to the Metropolitan Museum, studied at Harvard and Berlin before settling in 1890 at Florence, assembling a significant collection in the Villa Gattaia. A benefactor of the Fogg Museum at Harvard and the Palazzo Vecchio in Florence, he had a particular interest in Italian drawings. Sir Thomas Barlow, a businessman who at one time has a significant interest in Colnaghi’s, assembled a notable and wide-ranging collection of Old Master pictures in the post-war period: much of his collection was exhibited at the Whitworth, Manchester in 1968.