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Pietro Lorenzetti

(1306 -  1345 ) Wikipedia® : Pietro Lorenzetti
LORENZETTI Pietro Crocifissione

Palais Dorotheum
Apr 21, 2010
Find artworks, auction results, sale prices and pictures of Pietro Lorenzetti at auctions worldwide.
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Along with Pietro Lorenzetti, our clients also searched for the following authors:
Taddeo Gaddi, Lippo Memmi
Artworks in Arcadja
16

Some works of Pietro Lorenzetti

Extracted between 16 works in the catalog of Arcadja
Pietro Lorenzetti - Christ Between Saints Paul And Peter

Pietro Lorenzetti - Christ Between Saints Paul And Peter

Original
Estimate:

Price:

Gross Price
Lot number: 28
Other WORKS AT AUCTION
Description:
Lot Description

Pietro Lorenzetti (active Siena, circa 1306-45) Christ between Saints Paul and Peter on gold ground panel 12¾ x 27¾ in. (32.2 x 70.4 cm.)

Provenance

(Possibly) purchased in Italy by Francis Thomas de Grey Cowper, 7th Earl Cowper (1834-1905), Panshanger, Hertfordshire; and by descent through his niece, Ethel, Lady Desborough.

Pre-Lot Text

THE PROPERTY OF A GENTLEMAN

View Lot Notes ›
This hitherto unpublished panel was recognised as a mature work by Pietro Lorenzetti some years ago. Although it was brought to this country in the mid-nineteenth century, this is, most exceptionally, a work of the early trecento that has not been subjected to restoration in modern times.

Pietro Lorenzetti was in some ways the most energetic of the Sienese masters who emerged in the orbit of Duccio di Buoninsegna: less lyrical than Simone Martini and more assertive than his brother Ambrogio, he was one of the great narrative painters of the trecento. His known career commenced with the prodigious frescoes of the left transept of the lower church of the Basilica di San Francesco at Assisi, and continued with a sequence of major altarpieces, both for Sienese churches and for other Tuscan cities. In this panel, Lorenzetti's narrative taste is expressed in the way the lateral saints, Peter and Paul, hold -- and indeed almost flaunt -- their attributes. Equally characteristic is the ostensibly frontal, but -- as the nose indicates -- turned slightly to His proper right, face of Christ, here (surely significantly) looking not at Saint Peter but at the convert, Saint Paul. Christ is shown in the reverse position in the mural of the Resurrection at Assisi, datable about 1315, and in the same sense as in this panel in the much-damaged fresco of the Risen Christ in the Museo dell' Opera del Duomo at Siena (C. Volpe, Pietro Lorenzetti, M. Lucco, ed., Milan, 1989, no. 101); the Virgin is shown at a similar angle in the Carmine polyptych of 1329 (Siena, Pinacoteca Nazionale; Volpe, no. 104). Saint Peter is similar in type to the saint behind Christ in the Triumphal Entry to Jerusalem at Assisi.

Lorenzetti's types are relatively consistent, but the close parallels with elements of the Assisi cycle and a certain kinship with the art of Simone Martini, for example in the sword, point to a date relatively early in Lorenzetti's independent career. On the basis of a photograph Professor Mauro Lucco (correspondence of 1 April 2012) endorses the attribution and suggests that the panel is of about 1315, pointing out that the agemina treatment of the robes seems to anticipate that of the Seattle polyptych (Volpe, op. cit., no. 95). He subsequently endorsed the suggestion that the panel was the predella below the Madonna and Child enthroned with a Donor at Philadelphia (126 x 75.6 cm.; Volpe, no. 92; C.B. Strehlke, Italian Paintings, 1250-1450, in the John G. Johnson Collection and the Philadelphia Museum of Art, Philadelphia, 2004, pp. 215-23; fig. 1), a view also accepted by Carl Brandon Strehlke. The two works are stylistically very similar: and the panel of this predella, the grain of which is vertical, would appear to be compatible with that at Philadelphia, which is described in detail by Strehlke. The Philadelphia picture has been said to have been in the Chigi-Saracini collection, but was seen by Perkins with Torrini at Siena, circa 1900. It was clearly the central element of a polyptych, although until the emergence of this predella no other section of the complex had been identified. Strehlke tentatively associated the panel with a document of 1319 relating to a commission for an altarpiece of unspecified authorship for the church of Santa Maria dei Servi in Siena.
Pietro Lorenzetti - Saint Anthony Abbot Inscribed 'sanctvs · Antonivs · Abs ·'

Pietro Lorenzetti - Saint Anthony Abbot Inscribed 'sanctvs · Antonivs · Abs ·'

Original
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Price:

Gross Price
Lot number: 3
Other WORKS AT AUCTION
Description:
Lot Description
Pietro Lorenzetti (active Siena c. 1306-1345) Saint Anthony Abbot inscribed 'SANCTVS · ANTONIVS · AbS ·' (along the lower edge) tempera on gold ground panel, the inset quatrefoil with a band ofdecoration above and the inscribed band below 18¾ x 15¼ in. (47.5 x 38.9 cm.) .
Provenance
Private Collection, Genoa.
Pre-Lot Text
THE PROPERTY OF A PRIVATE COLLECTOR (LOTS 3 & 4)
Literature
A. Preiser, Das Entstehen und die Entwicklung der Predella inder italienischen Malerei, Hildesheim and New York, 1973, p. 158,pl. 134a, as Pietro Lorenzetti and workshop, circa 1330. C. Volpi, Pietro Lorenzetti, ed. by M. Lucco, Milan, 1989, pp.134-5, no. 103, as Pietro Lorenzetti. C. Brandon Strehlke, review of Lugano exhibition, The BurlingtonMagazine, CXXXIII, July 1991, pp. 465-6, fig. 32, as an early workby Pietro Lorenzetti. C. Brandon Strehlke, Italian Paintings 1250-1450 In the John G.Johnson Collection and the Philadelphia Museum of Art,Philadelphia, 2004, pp. 219 and 222, note 15.
Exhibited
Lugano-Castagnola, Fondazione Thyssen-Bornemisza, 'Künder derWunderbaren Dinge', Gotische Kunst Italiens aus Sammlungen in derSchweiz und Liechtenstein, 7 April-30 June 1991, no. 5, as PietroLorenzetti (entry by G. Freuler).
View Lot Notes ›
Pietro Lorenzetti was, with his brother Ambrogio and theircontemporary, Simone Martini, one of the three major Sienesepainters who emerged in the wake of Duccio di Buoninsegna in theearly decades of the 14th century. This panel was correctlyassociated by Volpi and Freuler with the Pietà, also set in aquatrefoil but at 61 centimetres somewhat wider in format and withsimilar bands of flanking decoration, in the Fondazione Lia, LaSpezia (Volpi, no. 102). The latter was evidently the centralelement of a predella, while this panel was on the left side ofthis. Volpi, rather harshly, comments on the condition of thepanel, suggesting that this explains a 'certa secchezza' (certaindryness) that might otherwise suggest the intervention of anassistant: he suggests that the two panels must have come from amajor polyptych, hypothetically that dated 1329 which is recordedin the church of the Umiliati at Siena. Freuler proposed that thepanels were the predella to an altarpiece of which the Madonna andChild in the J.G. Johnson Collection in the Philadelphia Art Museumwas the central element: however, Strehlke, in his review of theLugano exhibition, pointed out that as the grain of the panel isvertical this is questionable, and suggests the possibility thatthe two panels may have been 'part of a piece of sacristy furnituresuch as Memmo di Filippuccio's cupboard in Poggibonsi': the grainof the Lia panel is also vertical and Strehlke (2004) considers thetwo panels to postdate that at Philadelphia, which he dates circa1320.
Pietro Lorenzetti - The Crucifixion With The Virgin

Pietro Lorenzetti - The Crucifixion With The Virgin

Studio
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Lot number: 32
Other WORKS AT AUCTION
Description:
Pietro Lorenzetti and Workshop THE CRUCIFIXION WITH THE VIRGIN, AND SAINTS MARY MAGDALENE, JOHN THE EVANGELIST AND A FRANCISCAN FEMALE SAINT tempera on panel, gold ground 16 1/8 by 10 1/4 in.; 40.9 by 26.1 cm.
Pietro Lorenzetti - Madonna And Child

Pietro Lorenzetti - Madonna And Child

Manner -
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Price:

Lot number: 73
Other WORKS AT AUCTION
Description:
EARLY ITALIAN ICON

in the manner of Pietro Lorenzetti, Sienna, c. 1280-1348 Madonna and Child tempera on panel, 22.5"h; 13"w
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