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Sandro Botticelli

(1444 -  1510 ) Wikipedia® : Sandro Botticelli
BOTTICELLI Sandro The Madonna And Child

Jan 28, 2016
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Variants on Artist's name :

Alessandro Di Mariano Filipepi


Artworks in Arcadja

Some works of Sandro Botticelli

Extracted between 159 works in the catalog of Arcadja
Sandro Botticelli - An Angel, Head And Shoulders

Sandro Botticelli - An Angel, Head And Shoulders

Original 1510


Gross Price
Lot number: 34

Alessandro di Mariano Filipepi, called Sandro Botticelli
FLORENCE 1445 - 1510


oil on panel, transferred to canvas, laid down on panel, a fragment
overall: 16 3/8 by 12 5/8 in.; 41.7 by 32 cm.;
painted surface: 16 by 12 1/8 in.; 40.6 by 30.8 cm.
Sandro Botticelli - The Madonna And Child

Sandro Botticelli - The Madonna And Child



Gross Price
Lot number: 12
Alessandro di Mariano Filipepi, called Botticelli and Studio

FLORENCE 1445-1510


tempera on panel, a tondo

diameter: 33 in.; 83.3 cm.

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Saleroom Notice


Possibly Baccio Valori, Florence, by 1591;

Possibly by descent to Alessandro Valori, Palazzo Valori, by 1 January 1696;

John Rushout, 2nd Baron Northwick (1770-1859), Thirlestane House, Cheltenham, Gloucestershire, until 1859;

His sale, Thirlestane House, Cheltenham, Gloucestershire, Phillips, 3 August 1859, lot 587 (30 guineas to Colnaghi on behalf of Nichols, as Botticelli);

There acquired by Richard P. Nichols, Cliftonville, Brighton, in 1859 until 1875;

By whom sold, London, Christie's, 30 April 1875, lot 19 (205 guineas to Colnaghi on behalf of the below, as Botticelli);

Sir George Salting (1836-1909), London, in 1875 until 1885;

From whom acquired by Robert H. Benson (1850-1929) and his wife, Evelyn Benson (1856-1943), London, in 1885 until 1927;

From whom acquired with the entirety of their collection by Sir Joseph Duveen (1869-1939), later 1st Baron Duveen, London, in 1927;

Baron Michele Lazzaroni, Rome, by 1929;

With John Levy Galleries, New York, by 1930;

From whom acquired by Mr. E.W. Edwards, Cincinnati, Ohio by October 1930;

Thence by descent to his daughter, Eleanor Wood Prince (1911-2008), Chicago, by 1978;

By whose estate sold, New York, Christie's, 28 January 2009, lot 8 (as Studio of Botticelli).


Possibly F. Bocchi, Le Bellezze della città di Fiorenza, Florence 1591, p. 182 (as Botticelli, in the collection of Baccio Valori, "Tondo molto grande, doue di mano di Sandro Botticelli è dipinta vna Madonna, che ha il puttino in collo di leggiardo colorito. È di aria nobile la Vergine, & il figliuolo altresi: & due Angeli in graziosa vista, & lieta sono di vero bellissimi, & molto rari. Due vasi di rose, le quali mostrano mirabil freschezza, accendono fi letizia chi mira, & il colorito nel tutto vago rende questa pittura nobile & rara.");

Possibly F. Bocchi, G, Cinelli (ed.), Le Bellezze della città di Fiorenza, Florence 1677, p. 365;

Possibly F. Baldinucci, Notizie de' Professori del disegno da Cimabue in qua: Secolo III e IV dal 1400 al 1540, Florence 1728, p. 138 (as Botticelli, in the collection of Alessandro Valori);

H. Davies, Cheltenham Looker-On, Autumn 1842;

H. Davies, Hours in the Picture Gallery of Thirlestane House, Cheltenham: Being notices of some of the principal paintings in Lord Northwick's collection, Cheltenham 1843, p. 13, cat. no. 18 (as Raphael);

H. Ulmann, Sandro Botticelli, Munich 1893, pp. 123, 152 (as Workshop of Botticelli);

G.N. Plunkett, Sandro Botticelli, London 1900, p. 101 (as Workshop of Botticelli);

L. Cust, in Les Arts, October, 1907, p. 26;

H.P. Horne, Alessandro Filipepi, commonly called Sandro Botticelli, painter of Florence. Appendix III : catalogue of the works of Sandro Botticelli, and of his disciples and imitators, together with notices of those erroneously attributed to him, in the public and private collections of Europe and America, Ms. 1908, Florence 1987, cat. no. 68 (as Botticelli "during his middle period," in the collection of Robert H. Benson);

A. Venturi, Storia dell'arte italiana, Milan 1911, vol. VII, part I, p. 642 and 697, under note 1 (as School of Botticelli);

T, Borenius, Catalogue of Italian pictures at 16, South Street, Park Lane, London and Buckhurst in Sussex; collected by Robert and Evelyn Benson, London 1914, p. 49, cat. no. 26 (as School of Botticelli);

A. Venturi, Storia dell'arte italiana, Milan 1925, vol. VII, part I, p. 118 (as Attributed to Botticelli)

G. Fiocco, "A newly discovered tondo by Botticelli," in The Burlington Magazine, LVIII, October 1930, pp. 153-54 (as Botticelli);

"Masterpiece is Discovered," in The Cincinnati Enquirer, 23 October 1930 (as Botticelli);

R. van Marle, "The School of Botticelli," in The Development of the Italian Schools of Painting, The Hague 1931, p. 233 (as School of Botticelli, known only through photographs);

R. Salvini, Tutta la pittura del Botticelli, Milan 1958, vol. II, p. 73, reproduced plate 133B (as Workshop of Botticelli, very high quality, possibly based on a design by the master, dating to circa 1487);

M. Levey and G. Mandel, The Complete Paintings of Botticelli, London 1970, p. 99, cat. no. 90 (as "a high quality work" by Botticelli);

C. Bo and G. Mandel, L'opera completa del Botticelli, Milan 1978, p. 99, cat. no. 90 (as Botticelli);

R. Lightbown, Sandro Botticelli, Complete Catalogue, London and Berkeley 1978, vol. II, p. 133, cat. no. C31, (as Workshop of Botticelli) and possibly p. 217, cat. no. G13 (under Lost Works);

N. Pons, Botticelli, Catalogo completo, Milan 1989, p. 74, cat. no. 72, reproduced fig. 72 (as Workshop of Botticelli);

Possibly F. Bocchi, T. Frangenberg and R. Williams (eds.), The Beauties of the Cities of Florence, A Guidebook of 1591, London 2006, pp. 173-174 (as Botticelli).

Catalogue Note
This elegant Madonna and Child with Saint John the Baptist and an Angel is likely identifiable as the lost painting noted in the Florentine collection of Baccio Valori by Francesco Bocchi in 1591 (see Provenance and Literature). Bocchi describes the painting as, "Tondo molto grande, doue di mano di Sandro Botticelli è dipinta vna Madonna, che ha il puttino in collo di leggiardo colorito. È di aria nobile la Vergine, & il figliuolo altresi: & due Angeli in graziosa vista, & lieta sono di vero bellissimi, & molto rari. Due vasi di rose, le quali mostrano mirabil freschezza, accendono fi letizia chi mira, & il colorito nel tutto vago rende questa pittura nobile & rara" ("a very large tondo by Sandro Botticelli, in which is painted, with lovely coloring, a Madonna with the Child in her arms. The Virgin has an air of nobility and so does the Child: the two angels of graceful and joyous countenance, are truly most beautiful and fine. Two vases filled with roses, which seem to be wonderfully fresh, galdden whoever looks at them, and the coloring, lovely throughout, makes this picture distinguished and precious.").
Viewing the painting under Infrared (fig. 1) reveals changes in the underdrawing. This is evidence that, rather simply than following a cartoon, the artist was thinking and evolving the the composition as he painted. The position of Saint John the Baptist's head has shifted slightly from the drawing to the finished painted version, the placement of the fingers on his right hand were altered, and the Christ Child's arm was moved marginally and more convincingly foreshortened.
As Nicoletta Pons notes in her 1989 monograph of the artist (see Literature), this composition is loosely derived from Botticelli's Madonna of the Pomegranate, in the Galeria degli Uffizi, Florence (fig. 2).
The Uffizi panel, also a tondo, dates to 1487 and depicts the Madonna in a similar pose, at the center of the composition, her head tilted to the right, her right hand deftly holding the Child in her lap. The Child, however, leans to the left side in that painting and the Madonna is accompanied by a host of angels, rather than an angel and Saint John the Baptist as in the present panel.
Another version of the present tondo can be found in the National Museum, Warsaw (inv. no. M.06.607) and formerly belonged to the Ingenheim family of Reisewitz.
The Warsaw tondo follows the present composition, varying only objects on the ledge in the foreground to the right. The bowl of wild strawberries is instead replaced by a white leather-bound book and white cloth. A further version is in the Art Institute of Akron, Ohio and Ronald Lightbown cites a third, without referencing its location, known through photographic archives at the Villa I Tatti, Florence (see N. Pons and R. Lightbown under Literature).
We are grateful to Laurence Kanter for endorsing the attribution and suggesting a dating to the 1490s on the basis of firsthand inspection.
1. Translation from F. Bocchi, 2006, under Literature. 2. N. Pons, under Literature, p. 74, cat. no. 69. 3. Ibid., p. 74, under cat. no. 72.
Sandro Botticelli - Newcomb-macklin Company Frame, Housing

Sandro Botticelli - Newcomb-macklin Company Frame, Housing

Original -


Net Price
Lot number: 1259
American School, 20th Century
Newcomb-Macklin Company Frame, Housing a 20th Century Copy After Botticelli
. Frame with a label from Newcomb-Macklin Co., Chicago, on the backing paper. Rabbet dimensions 22 3/16 x 15 1/4 in., outside dimensions 28 1/4 x 21 5/16 in. Condition: Minor wear to the patina.
Sandro Botticelli - Madonna With Child

Sandro Botticelli - Madonna With Child

Original -


Net Price
Lot number: 502
BOTTICELLI, SANDRO Florence (ca. ) 1445 - (before) 1510 - and workshop Madonna with Child, St. John the Baptist and an Angel. Tempera/ oil on poplar wood. Parqueted. Diameter ca. 87,5 cm. Carved and gilded frame (19th century). Provenance: - 1826. Presumably auction, estate Dominique Vivant Denon (former director Museum Napoleon), auctioned as "Botticelli" on May 2, 1826 at Commissaire-Priseur Masson for 265 franc - Before 1925 in the collection Nardus/ van Buuren as Botticelli - 1925. Auction Mak van Waay, Amsterdam, auction May 26-27, 1925, lot 9, as Botticelli - not sold - After that again in the collection Arnold van Buuren/Haarlem - In 1940 listed by the Deutsche Revisions- und Treuhand-Aktiengesellschaft (German Revision and Trustee Stock Company), branch office The Hague, in the "Preliminary Report Enemy Property", status September 10, 1940, number 11, deployment III "Compilation of the paintings etc. - Collection van Buuren/ Nardus, sent in by Arnold van Buuren, Haarlem" under Pos 4 "Madonna with Child and Two Saints", attributed to Botticelli - August 1942. Parts of the collection Nardus/ van Buuren were confiscated and transferred to the so-called "Nazi Bank" Lippmann, Rosenthal & Co, 45-55 Sarphatistraat, Amsterdam, this painting being among that - 1943. Auction Lempertz on June 2, 1943, lot 7, as School Sandro Botticelli, sold for Reichsmark 19,000. Presumably brought in directly from the bank Lippmann, Rosenthal & Co together with at least 25 other paintings (see LIPPMANNlijst v. BUUREN and account Lempertz No. 244 dated June 22, 1943) - Since then in Rhenish private property Literature: - Auction catalogue Masson, "Feu M. Le Baron V. Denon", auction May 2, 1826, presumably Lot 13 - Auction catalogue Mak van Waay, Amsterdam, 1925. Tableaux anciens Antiquités-Collections Arnold van Buuren "T Loover", Naarden, Vente Publique les 26 - 27 Mai 1925, lot 9 - Auction catalogue Lempertz, Cologne, 1943. "Math. Lempertz'sche Kunstversteigerung" 420, June 2/3, 1943, lot 7 - Gabriele Mandel, in Carlo Bo, L'Opera completa del Botticell, Milano 1967, p. 99 in cat. 93. General literature: - Doetsch, Ingeborg Eugenia: Die "Madonna mit dem Granatapfel" von Sandro Botticelli (1487). Der Einfluss des Dante Alighieri und Nikolaus von Kues auf die Florentiner und die Rezeption bei Sandro Botticelli. Cologne 1992; - Zöllner, Frank: Sandro Botticelli, Munich 2005; - Schumacher, Andreas (ed.): Botticelli. Ausstellungskatalog Städel-Museum, Frankfurt/Main 2009/2010. Technological examinations - Technological examination by Dipl.-Rest. Rüdiger Beck, Leipzig, March 2013. I.a. infrared examination, X-rays, dendrochronological examination, pigment analysis, examination under ultraviolet light; - Pigment analysis from the Microanalytic Laboratory of Prof Dr. Jägers/ Dr. Jägers, Bornheim, February 2012; - Microscopic examination Prof Dr. Hans Portsteffen from the University of Applied Science, Cologne, Institute for Restoration and Conservation Science, February 2012. Assessment: - Prof. Dr. Gaudenz Freuler, University of Zurich, July 2013; - Ingeborg Eugenia Doetsch, Cologne, September 2014. From the middle of the 15th century onwards the tradition of the round picture, the so-called tondi, was widespread. They entered into bourgeoise houses and palazzi of wealthy patricians and princes and were primarily used for private devotion. One of the most famous is probably Michelangelo's Tondo Doni, which he had fashioned on the occasion of Angolo Doni's wedding (Florence 1506-1508) and which can today be admired at the Uffizi. The here presented round picture shows in its compostion centrally the Virgin Mother with the Child, flanked by a young St. John the Baptist on the right and an equally young angel on the left as assistance figures. While the background with the red-green canopy and the balustrade or bench in the front are given rather stereotyped, the spectator's look directly concentrates on the touching, very close relationship between the Madonna and her child. She holds the - seemingly elevated from all earthly severity - child in her arms, lovingly cheek to cheek. This motif of the "tender touch of the cheek" is likely to have been introduced to the Florentine art at least since Donatello. Via Fra Filippo Lippi and his son Filippino it entered the oeuvre of Sandro Botticelli and his workshop. The exceptionally high-quality execution of the left, yellow-clad figure of the angel gives rise to the assumption that Botticelli was, with regard to composition and pentimenti of the figure, as well as to the execution of the yellow garment, himself the executive painter. Gaudenz Freuler writes in comparison with two other angel figures of the same basic composition (i.a. Bob Jones University Art Museum, Greenville) in his assessment: "...This painting, too, is among those produced serially in Botticelli's workshop. Within the genesis of the tondo it becomes, however, clear, that this figure - undoubtedly the most beautiful in the picture - is not calked, as various pentimenti, like the IR shot (13) brought to light, are clear evidence that a searching and at the same time creating artist was at work here. The deviation of the final execution from the underdrawing refers chiefly to the angel's right hand, his eyebrows and the position of his right eye, which were probably quickly given up in favor of the current version. If a searching artist was at work here, we can assume that our angel stands at the beginning of the here compared three angels, painted after the same model. This fact is revealing of the authorship of the angel, especially as there seem to be worlds between the execution of the angel's dress, the angel's face itself and the realisation of the other figures. This fact is revealing of the authorship of the angel, especially as there seem to lie worlds between the angel's dress, the angel's face itself and the realisation of the other figures. In other words, for this figure, which draws its inspiration from other pictures of Botticelli with a similar topic, for instance from the outermost angel from the Madonna del Magnificat in the Uffizi (1) painted in the early 1480s, a direct contribution of Botticelli seems evident - at least for the conception visible from the underdrawing. Our angel stands therefore not merely chronologically but also with regard to its artistic quality in the frist place of the three here listed angels after our model..." And concluding: "...Despite the serial production of such tondi in Botticelli's workshop the round picture here present belongs to the qualitative high-ranked workshop products from its maturing time around 1483-85. With such paintings Botticelli's workshop could accomodate the demand of the upper Florentine bourgeoise class who desired such paintings for the rooms of their palazzi. Aesthetics and specifically incorporated elements should stimulate their pious devotion, which is clearly referred to in the book with the text from the Magnificat held by the angel, a passage from the bible that, as is described in said book in our picture, was understood as Canticum Beate Virginis. This hymn honoring the Virgin belonged to the evening vesper, whcih is why it can be assumed that our round picture decorated the bedchamber of a rich Florentine bourgeoise house and should encourage the evening Praise of the Virgin Mother of the Magnificat." Mrs Ingeborg Eugenia Doetsch, who in her study mainly looks at ikonography and imagery of the tondo compared to other tondi in Botticelli's oeuvre, states among other things: "Compared to paintings of Botticelli in the Galleria degli Uffizi in Florence, that we visited as recently as July 2014, the angel as well as the Blessed Mother with her Child in the tondo from Rhenish private ownership could, in our view, have developed under guidance and possible contribution of Sandro Botticelli. As close-ups show the partially subtle "botticelli-esque" brushwork, the pigments in their range, charisma, density, arrangement and glazes to and with each other, as well as the "lustre" of this painting have, despite some skinning, great affinity to some Botticelli-like, picturesque executions of his works." And further Mrs Doetsch states: "...If a cartoon from the workshop of Sandro Botticelli has been used as a basis for the painting presented here , we could argue that the tondo employs a symbolism that is probably attributable to Botticelli himself." The comprehensive scientific-technological examination by Rüdiger Beck in Leipzig proves the unquestionable perception that the panel must date from the direct surrounding of Botticelli: "The further reports and findings, as for instance poplar wood as an image carrier, the territorially confined and time-specific two-layered plaster grounding, the classic structure of the painting in terms of painting technique using traditional pigments and binders, the for the time typical flowing of the brush lines, as well as the natural aging processes and their appearance, are indicative that the painting originated in Tuscany, presumably Florence, during the Italian Renaissance in the late 15th century." Please take the complete assessment and study texts from the online version of the catalogue ( The alienator and the community of heirs of Leonardus Salomon Nardus have come to a mutual agreement regarding potential restitution claims. On the part of the Nardus family no claims concerning this work are being made. We would like to thank Nicholas Randall for his kind support and meditation concerning the provenance research. Dossier_Botticelli_EXPERTISE_DOETSCH Dossier_Botticelli_EXPERTISE_FREULER
Sandro Botticelli - Study For A Seated St Joseph, His Head Resting On His Right Hand

Sandro Botticelli - Study For A Seated St Joseph, His Head Resting On His Right Hand



Gross Price
Lot number: 27
George Le Hunte of Artramont, County Wexford,

thence by descent to the Misses M. H., L. E. and M. D. Le Hunte,

their sale and others, London, Sotheby's, 9 June 1955, lot 45 (as Workshop of Sandro Botticelli, purchased by Hewett, £ 300);

Miss A.J. Martin;

sale, London, Sotheby's, 26 June 1957, lot 10 (as Workshop of Sandro Botticelli, purchased by Tooth, £ 290);

with William Schab Gallery, New York, Master Drawings and Prints, 1960;

Benjamin Sonnenberg, his sale New York, Sotheby's, 5-9 June 1979, lot 125 (as Circle of Botticelli, $26,000);

sale, New York, Sotheby's, 13 January 1988, lot 88 ($ 80,000);

Barbara Piasecka Johnson

Poughkeepsie, New York, Vassar College Art Gallery, and New York, Wildenstein and Co., Centennial Loan Exhibition, 1961, no. 2, reproduced;

Warsaw, The Royal Castle, Opus Sacrum from the Collection of Barbara Piasecka Johnson, 1990, pp. 94-97, note 14 (entry by K. Oberhuber), reproduced p. 95;

Warsaw, The Royal Castle, The Masters of Drawing, Drawings from the Barbara Piasecka Johnson Collection, 2010-11, pp. 38-39, reproduced p. 39

Barbara Piasecka Johnson
Sandro Botticelli

FLORENCE 1444/5 - 1510


Pen and brown ink heightened with white over black chalk, on beige-pink washed paper. Squared in black chalk for transfer;

bears attribution in pencil at the bottom: Giotto

129 by 124 mm

Laid down. Overall in quite good condition. Few nicks at the lower margin and right lower corner. Some rubbing top and bottom margins. Some slight oxidation of the white heighteneing. Slight surface dirt and a brown stain in the lower mid of the Saint Joseph mantle. A light brown stain to the left margin toward the upper corner. Sold mounted and framed in a old 16th or ealy 17th century Italian frame. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
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