im Kinsky Auktionshaus
Nov 8, 2011
Michelangelo Pace Da Campidoglio, Giuseppe Bernardino Bison, Romualdo Locatelli, Lodovico Zambeletti, Giuseppe I Canella, Francesco Tironi, Giovanni Domenico Tiepolo, Pier Francesco Mola, Carlo Grubacs, Pompeo Mariani, Paul Cezanne
Some works of Andrea Del SartoExtracted between 294 works in the catalog of Arcadja
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German KPM-Style Hand-Painted Porcelain Plaque of the Madonna delle Arpie,
fourth quarter 19th century, after Andrea del Sarto (Italian, 1486-1530), carefully painted in polychrome colors, the artist capturing the serenity of the original, marked "Madonna delle Arpie" on the back in script, in a carved giltwood frame, plaque, h. 10", w. 7-1/4", overall, h. 15-1/4", w. 12-3/4".
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Pitture a fresco... esistenti nella Compagnia dello Scalzo in Firenze,
engraved portrait by G. Saunders after V. Gozzini and 15 plates after Andrea del Sarto's frescoes, some light marginal dampstaining, contemporary red morocco-backed cloth, soiled, spine worn with loss at head, folio (538 x 370mm.),
Florence, Tipografia all'Insegna di Dante, 1830
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Nach Andrea del Sarto
(Florenz 1486–1530 ebd.)
Johannes der Täufer
Öl auf Leinwand
94 × 70 cm
Rückseitig bezeichnet: Le petit par Andrea del Sarto / Copie par Louis Bardi / L\’\’original est dans la Galerie Pitti_Florence_
Question to the expert
Order Sheet PDF [108 KB]
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Andrea del Sarto (Florence 1486-1530)
The Madonna and Child
oil on panel
35 1/8 x 26¼ in. (89.2 x 66.7 cm.)
with the old inventory number '14' and charcoal anatomical sketches (on the reverse) .
Clara Winthrop, Boston, by whom bequeathed to the following in the 1930s
All Saints Episcopal Church, West Newbery, Mass., U.S.A. 1930s; Sotheby's, New York, 28 January 2000, lot 12.
with Matthiesen Fine Art Ltd, Giacomo Algranti Ltd, and Derek Johns Ltd, A Del Sarto Rediscovered, catalogue by P. Matthiesen and B.L. Brown, London, 2001, passim, pls. I, III (infrared reflectogram), IX, XII, XIV (verso) and XV (prior to conservation), when acquired by the present owner.
THE PROPERTY OF A GENTLEMAN
Canberra, National Gallery of Australia and Melbourne, Melbourne Museum, Titian to Tiepolo: Three centuries of Italian art, 28 March-6 October 2002 (catalogue note by B.L. Brown).
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This characteristic work of Andrea del Sarto's early maturity was unknown until its emergence in 2000, but was comprehensively examined by Brown and Matthiesen in the 2001 catalogue cited above. Sarto was trained by the most eccentric master of the late quattrocento in Florence, Piero di Cosimo, matriculating as an independent artist in 1508. In a rather fascinating way he reacted against Piero's wayward personality and went on to develop a compellingly naturalistic style of his own, fortified by the example of Leonardo, of Michelangelo and the youthful Raphael, but not least by that of Fra Bartolommeo. With the first five frescoes of 1509-10 in the Chiostrino of Santissima Annunziata, Sarto established a position in the vanguard of Florentine painting. In 1515 he received the first of a long series of payments for the cycle of grisaille frescoes of scenes from the life of the Baptist for the Chiostro dello Scalzo, where he would continue to work until 1527. This panel is of circa 1516-7, and is thus closely contemporary with the most celebrated of all the artist's altarpieces, the Madonna of the Harpies (Florence, Uffizi), which is dated 1517, and followed a series of sophisticated compositions of the Madonna which were evidently widely admired.
By comparison with these rather larger panels, this picture is almost deceptively simple in design. The frontal parapet suggests that Sarto was aware of Madonna compositions of the 1460s and 1470s inspired by contemporary reliefs, while the curtains recall his use of these in the earlier, but larger Marriage of the Virgin (Dresden) and the Corsini Madonna (Petworth, Egremont Collection). What is more novel is the immediacy of the picture: we are left in no doubt of the relationship - in every sense - between mother and Child, and the tender way in which the Madonna gives him the physical support which, as we know from the tremulous motion of His left arm, He needs.
Until this panel emerged in 2000 the composition was known from a picture in the National Gallery of Canada, Ottawa (no. 4352), and from two studio versions, recorded in the da Pra' collection at Genoa and in the Alba collection, Madrid (reproduced in the 2001 catalogue, figs. 9 and 8), as well as an early copy in the Walker Art Gallery, Liverpool (no.2859, op. cit., fig. 90 and one that was on the Paris art market in 2001 (op. cit., fig 11). John Shearman (Andrea del Sarto, Oxford, 1965, Studio Works, no. 3) initially regarded this as a studio work, although noting the numerous pentiments, but by 1999 regarded this panel as wholly autograph. 1n 1966 Shearman recognised that a drawing of the head of a woman, then in a private collection in Zurich (Shearman, pl. 47a), was related to both the Ottawa picture and to the closely coeval Borghese Madonna (his pl. 51). As Matthiessen and Brown demonstrate (2001 catalogue, pls. V-VIII) both the Madonna under discussion and that at Ottawa were prepared from the same cartoon. There are very numerous differences and distinctions between the two: these were analysed in 2001, and some in particular call for notice here: the parapet is deeper in the Ottawa picture in which the Virgin's right hand is raised a little; her cheek is perhaps thinner in that work; but by drawing back the Child's left arm in this panel, so that the fall of the right arm seems more rational, the design gains in legibility.
Sarto was from early in his career an artist who was interested not only in working out compositions but in subtly reworking these. A celebrated earlier example is the Holy Family, or more precisely Madonna and Child with Saint Elizabeth and the Infant Baptist: while the relationship of the Munich and Louvre versions, both autograph, has been much discussed, less attention has been paid to the admittedly less well preserved panel at Petworth, which is, if anything, superior to that in Paris. Numerous other examples of Sarto's multiple use of cartoons can be cited, and we have to accept that his personal path to perfection meant that he was always prepared to revise and reconsider ideas, even when designing a major altarpiece such as the second of his great Assumptions, which can be compared so readily with its prototype that hangs opposite this in the Pitti. The evidence of the revisions to this Madonna and that at Ottawa and of the distinctions in composition between these can only imply that Sarto worked simultaneously on both. Where the two Madonnas differ most radically is in colour. Sarto was deeply interested in colour, and the completely different chromatic range of the two pictures is highly instructive. The curtains in both pictures are a deep green, but at Ottawa the Virgin's dress is a pale pink, her mantle a more conventional rich blue and her headdress a strong yellow, pinkish in shadow. In this Madonna, the dress is the iconographically correct red - and more of this is very deliberately shown - the mantle a marvellous blue that is touched with green, while the veil - not that this is used as such - is a clear cornflower blue that brilliantly answers the mantle. It is as though Sarto wished to respect convention in both pictures, but also, and again in both panels, to break from this and express his own sense of chromatic symmetry. Each picture stands alone, but their relationship reveals much of the artist's preoccupations at a time when he was at the vanguard of the artistic life of Florence, setting the pace for younger contemporaries of whom the most brilliant was Pontormo and establishing a naturalistic visual canon that was to be respected in Florence for the ensuing century.
The rough drawings on the original priming on the reverse, which include a standing nude moving his left leg and arm forward, and a putto seen from the right side were clearly executed in Sarto's studio, and it would be rash to exclude the possibility that these are autograph: there is indeed a striking resemblance between the lower part of the nude and that in a chalk study in the Uffizi (Shearman, pl. 47 c), which was used for the Saint John of the lost Pucci Pietà, which was engraved in 1516, and may well have been worked on at the same time as the Madonna and its counterpart at Ottawa. It may be relevant that there are also drawings on the reverse of the ex-Cook version of the Borghese Madonna in the Kisters collection (Shearman, no. 45 (1)), the prototype of which is held to be of before 1518.
LA BIOGRAFIA DI Andrea Del Sarto
ANDREA del Sarto Andrea d'Agnolo detto Pittore italiano (Firenze 1486 - 1531).
Figlio di un sarto, dopo aver fatto un breve apprendistato presso la bottega di un orafo, fu allievo di Piero di Cosimo.
Subì in parte l'influenza di Raffaello, di Leonardo e di Michelangelo, dei quali copiò i cartoni per palazzo Vecchio.
La sua prima opera importante fu la decorazione in terra verde a chiaroscuro del chiostro degli Scalzi in Firenze con scene della Vita di S.
Giovanni Battista, iniziata nel 1507 e interrotta più volte per essere poi terminata nel 1526.
Nel 1508 iniziò gli affreschi del chiostro dei Voti della SS.
Annunziata, raffigurandovi cinque scene della Vita di san Filippo Benizzi, a cui si aggiunsero nel 1511 e nel 1514 il Corteo dei Magi e la Natività della Vergine.
Nel 1515 decorò la facciata posticcia del duomo di Firenze, eretta da Iacopo del Sansovino.
Del 1517 sono due pale d'altare conservate a Firenze, la Madonna delle Arpie (Uffizi) e la Disputa della Trinità (Palazzo Pitti).
Nel 1518 fu in Francia, alla corte di Francesco I, dove rimase fino al 1519 ed eseguì diverse opere tra cui una Carità (Parigi, Louvre).
Nel 1521 incominciò l'affresco del Tributo a Cesare per la villa medicea di Poggio a Caiano, rimasto incompiuto per la morte del committente papa Leone X e successivamente completato dal A.
Nel 1523 scappò da Firenze per sfuggire la peste e si trasferì a Luco di Mugello dove realizzò, per le suore di S.
Pietro, una Deposizione (Firenze, Palazzo Pitti).
Tornato a Firenze nel 1524, fu invitato da Ottaviano de' Medici a eseguire la copia del ritratto di Leone X di Raffaello (Napoli, Museo di Capodimonte); nel 1528 dipinse una Madonna con santi, oggi conservata a Berlino.
Altre sue opere notevoli sono il Cenacolo di S.
Salvi realizzato attorno al 1526, la Sacra Famiglia della Galleria Borghese a Roma, le Storie di san Giuseppe in palazzo Pitti a Firenze.
Sempre a Firenze, l'artista diresse una fiorente bottega, fondata nel 1508 assieme a Francesco Franciabigio; fu inoltre il maestro di Pontormo e di Rosso Fiorentino.