Master Of The Scandicci Lamentation

LOT 21 PROPERTY FROM A FAMILY COLLECTION MASTER OF THE SCANDICCI LAMENTATION ACTIVE FIRST QUARTER OF THE 16TH CENTURY MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST tondo, oil on panel 50,000—70,000 USD measurements note diameter: 33 in.; 83.8 cm. PROVENANCE Antonio Scarpa, Pavia, 1832-1833;Pinacoteca Scarpa, Motta di Livenza, 1833-1895;Their sale, Milan, Giulio Sambon, 14 November 1895, lot 53 (asSchool of Raphael);Eugene Kraemar, Paris;Anonymous sale, Paris, Galerie Georges Petit, 2-5 June 1913, lot 37(as Francesco Granacci);Anonymous sale, New York, Anderson Galleries, 15 April 1926, lot 25(as Giulio Romano);Mark Leopold, New York;His sale, New York, Kende Galleries, 14 April 1944, lot 58 (asRidolfo del Ghirlandajo);Where acquired by the widow of Mark Leopold;By whom given to the grandmother of the present owners. LITERATURE AND REFERENCES Descrizione della Pinacoteca del Sig. Giovanni Scarpaesistente fino al 1833 in Motta, Provincia di Treviso,restaurata dai Veneti artisti sig.ri Giacomo Tonegutti e G.Battista Carrer e riaperta nel 20 Ottobre 1844, Portogruaro,Castion 1859, p. 7, cat. no. 14;Descrizione ..., 1872, p. 26, cat. no. 81;P.G. Molmenti, "La Pinacoteca Scarpa in Motto di Livenza," inArchivio Veneto , Vol. VIII, Part I, 1874, p.13, no.81;S. Reinach, Répertoire de peintures du Moyen âge et de laRenaissance (1280-1580), vol. v, Paris 1922, p. 348;P. Andor, A régi képtár katalógusa, Szépművészeti Múzeum catalogue,Budapest 1954, vol. I, p. 197;P. Andor, A régi képtár katalógusa, Szépművészeti Múzeum catalogue,Budapest 1967, vol. I, p. 235, under cat. no. 6;C. von Holst, Francesco Granacci, Munich 1974, pp. 183, 201-2, catnos. 190, 131a, and possibly 131b, reproduced, p. 238, fig. 158(under erroneous attributions);E. Fahy, Some Followers of Domenico Ghirlandajo, New York 1976, p.197 (as Homeless);V. Tátrai,Treasures of Venice: Paintings from the Museum of FineArts, Budapest, Minneapolis 1991, p. 39;S. Momesso, La Collezione di Antonio Scarpa (1752-1832),Padua 2007, pp. 74-76, under cat. no. 4, reproduced (as locationunknown). CATALOGUE NOTE The artist's eponymous work is his copy after Perugino'sLamentation (Galleria Palatina, Palazzo Pitti, Florence) in theChurch of San Bartolo in Tuto, Scandicci (near Florence). Little isknown about the painter's activity, though it is possible that hebegan his training under Perugino (given the existence of theaforementioned copy). Since the style of the Master's other knownworks are closer to that of the pupils of Domenico Ghirlandaio, andin particular to Ridolfo Ghirlandaio, to whom this picture has beengiven in the past, it is likely that he was later active inFlorence. The smooth handling and Raphaelesque overtones in thispicture are particularly close to those in the Master's panel ofThe Madonna and Child with the Infant St. John the Baptist sold atSotheby's, London, 9 December 1981, lot 24. For a comprehensivelist of the artist's oeuvre see E. Fahy, op.cit., pp. 196-197. The present painting once belonged to the Italian scientist andcollector Antonio Scarpa (1752-1832) who from the age of twenty wasprofessor of anatomy and surgery at Modena and then professor atthe University of Pavia. In addition to his career as a scientist,Scarpa was an avid art collector, and amassed a considerablecollection of Old Master Paintings, which were subsequently housedin a gallery in Motta di Livenza.1 The present work wassold in the single owner sale of his collection as School ofRaphael. Since then, the names of Giulio Romano, Ridolfo delGhirlandaio, and Francesco Granacci have all been attached to thework at various points. Another version of the painting, given toGranacci in full, is located in the Szépmüvészeti Múzeum, Budapest(inv. no. 67).2 Everett Fahy was the first to recognizethis picture as an autograph work by the M The artist's eponymous work is his copy after Perugino'sLamentation (Galleria Palatina, Palazzo Pitti, Florence) in theChurch of San Bartolo in Tuto, Scandicci (near Florence). Little isknown about the painter's activity, though it is possible that hebegan his training under Perugino (given the existence of theaforementioned copy). Since the style of the Master's other knownworks are closer to that of the pupils of Domenico Ghirlandaio, andin particular to Ridolfo Ghirlandaio, to whom this picture has beengiven in the past, it is likely that he was later active inFlorence. The smooth handling and Raphaelesque overtones in thispicture are particularly close to those in the Master's panel ofThe Madonna and Child with the Infant St. John the Baptist sold atSotheby's, London, 9 December 1981, lot 24. For a comprehensivelist of the artist's oeuvre see E. Fahy, op.cit., pp. 196-197. The present painting once belonged to the Italian scientist andcollector Antonio Scarpa (1752-1832) who from the age of twenty wasprofessor of anatomy and surgery at Modena and then professor atthe University of Pavia. In addition to his career as a scientist,Scarpa was an avid art collector, and amassed a considerablecollection of Old Master Paintings, which were subsequently housedin a gallery in Motta di Livenza.1 The present work wassold in the single owner sale of his collection as School ofRaphael. Since then, the names of Giulio Romano, Ridolfo delGhirlandaio, and Francesco Granacci have all been attached to thework at various points. Another version of the painting, given toGranacci in full, is located in the Szépmüvészeti Múzeum, Budapest(inv. no. 67).2 Everett Fahy was the first to recognizethis picture as an autograph work by the Master of the ScandicciLamentation (see Literature). 1. Another work from the collection by Bartolomeo Schedoni wasrecently sold, New York, Sotheby's, 3 June 2010, lot 57.2. See Literature.

LOT 254 PROPERTY FROM A FAMILY COLLECTION MASTER OF THE SCANDICCI LAMENTATION ACTIVE FIRST QUARTER OF THE 16TH CENTURY MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST tondo, oil on panel 100,000—150,000 USD measurements note diameter: 33 in.; 83.8 cm. PROVENANCE Antonio Scarpa, Pavia, 1832-1833;Pinacoteca Scarpa, Motta di Livenza, 1833-1895;Their sale, Milan, Giulio Sambon, 14 November 1895, lot 53 (asSchool of Raphael);Eugene Kraemar, Paris;Anonymous sale, Paris, Galerie Georges Petit, 2-5 June 1913, lot 37(as Francesco Granacci);Anonymous sale, New York, Anderson Galleries, 15 April 1926, lot 25(as Giulio Romano);Mark Leopold, New York;His sale, New York, Kende Galleries, 14 April 1944, lot 58 (asRidolfo del Ghirlandajo);Where acquired by the widow of Mark Leopold;By whom given to the grandmother of the present owners. LITERATURE AND REFERENCES Descrizione della Pinacoteca del Sig. Giovanni Scarpaesistente fino al 1833 in Motta, Provincia di Treviso,restaurata dai Veneti artisti sig.ri Giacomo Tonegutti e G.Battista Carrer e riaperta nel 20 Ottobre 1844, Portogruaro,Castion 1859, p. 7, cat. no. 14;Descrizione ..., 1872, p. 26, cat. no. 81;P.G. Molmenti, "La Pinacoteca Scarpa in Motto di Livenza," inArchivio Veneto , Vol. VIII, Part I, 1874, p.13, no.81;S. Reinach, Répertoire de peintures du Moyen âge et de laRenaissance (1280-1580), vol. v, Paris 1922, p. 348;P. Andor, A régi képtár katalógusa, Szépművészeti Múzeum catalogue,Budapest 1954, vol. I, p. 197;P. Andor, A régi képtár katalógusa, Szépművészeti Múzeum catalogue,Budapest 1967, vol. I, p. 235, under cat. no. 6;C. von Holst, Francesco Granacci, Munich 1974, pp. 183, 201-2, catnos. 190, 131a, and possibly 131b, reproduced, p. 238, fig. 158(under erroneous attributions);E. Fahy, Some Followers of Domenico Ghirlandajo, New York 1976, p.197 (as Homeless);V. Tátrai,Treasures of Venice: Paintings from the Museum of FineArts, Budapest, Minneapolis 1991, p. 39;S. Momesso, La Collezione di Antonio Scarpa (1752-1832),Padua 2007, pp. 74-76, under cat. no. 4, reproduced (as locationunknown). CATALOGUE NOTE The artist's eponymous work is his copy after Perugino'sLamentation (Galleria Palatina, Palazzo Pitti, Florence) in theChurch of San Bartolo in Tuto, Scandicci (near Florence). Little isknown about the painter's activity though it is possible that hebegan his training under Perugino (given the existence of theaforementioned copy). Since the style of the Master's other knownworks are closer to that of the pupils of Domenico Ghirlandaio, andin particular to Ridolfo Ghirlandaio, to whom this picture has beengiven in the past, it is likely that he was later active inFlorence. The smooth handling and Raphaelesque overtones in thispicture are particularly close to those in the Master's panel ofThe Madonna and Child with the Infant St. John the Baptist sold atSotheby's, London, 9 December 1981, lot 24. For a comprehensivelist of the artist's oeuvre see E. Fahy, op.cit., pp. 196-197. The present painting once belonged to the Italian scientist andcollector Antonio Scarpa (1752-1832) who from the age of twenty wasprofessor of anatomy and surgery at Modena and then professor atthe University of Pavia. In addition to his career as a scientist,Scarpa was an avid art collector, and amassed a considerablecollection of Old Master Paintings, which were subsequently housedin a gallery in Motta di Livenza.1 The present work,group was sold in the single owner sale of his collection as Schoolof Raphael. Since then, the names of Giulio Romano, Ridolfo delGhirlandaio, and Francesco Granacci have all been attached to thework at some point. Another version of the painting, given toGranacci in full is located in the Szépmüvészeti Múzeum, Budapest(inv. no. 67).2 Everett Fahy was the first to recognizethis picture as an autograph work by the The artist's eponymous work is his copy after Perugino'sLamentation (Galleria Palatina, Palazzo Pitti, Florence) in theChurch of San Bartolo in Tuto, Scandicci (near Florence). Little isknown about the painter's activity though it is possible that hebegan his training under Perugino (given the existence of theaforementioned copy). Since the style of the Master's other knownworks are closer to that of the pupils of Domenico Ghirlandaio, andin particular to Ridolfo Ghirlandaio, to whom this picture has beengiven in the past, it is likely that he was later active inFlorence. The smooth handling and Raphaelesque overtones in thispicture are particularly close to those in the Master's panel ofThe Madonna and Child with the Infant St. John the Baptist sold atSotheby's, London, 9 December 1981, lot 24. For a comprehensivelist of the artist's oeuvre see E. Fahy, op.cit., pp. 196-197. The present painting once belonged to the Italian scientist andcollector Antonio Scarpa (1752-1832) who from the age of twenty wasprofessor of anatomy and surgery at Modena and then professor atthe University of Pavia. In addition to his career as a scientist,Scarpa was an avid art collector, and amassed a considerablecollection of Old Master Paintings, which were subsequently housedin a gallery in Motta di Livenza.1 The present work,group was sold in the single owner sale of his collection as Schoolof Raphael. Since then, the names of Giulio Romano, Ridolfo delGhirlandaio, and Francesco Granacci have all been attached to thework at some point. Another version of the painting, given toGranacci in full is located in the Szépmüvészeti Múzeum, Budapest(inv. no. 67).2 Everett Fahy was the first to recognizethis picture as an autograph work by the Master of the ScandicciLamentation (see Literature). 1. Another work from the collection by Bartolomeo Schedoni wasrecently sold, New York, Sotheby's, 3 June 2010, lot 57.2. See Literature.

oil on poplar panel PROVENANCE Edward Solly (1776-1844), London, believed to have been bought after 1821, the year of the sale of his first collection to the King of Prussia; Probably thence by inheritance to his only daughter, Sarah Solly; Given by one of Edward Solly's descendants to an ancestor of the present owner in Berlin. LITERATURE AND REFERENCES Descriptive Catalogue of the Collection of Italian Pictures of the Rafaelle Period of the late Edward Solly, Esq., (undated) London, p. 16, no. XXVII (as Raphael: " The Madonna and Child. In the style and evidently painted at the same time as the Madonna del Baldachino. The present picture is believed to be the small one mentioned by Vasari as painted by Rafaello whilst engaged on the larger work "); P. Giusti & P.L. de Castris, Pittura del Cinquecento a Napoli. 1510-1540 forastieri e regnicoli, Naples 1988, pp. 36, 54, footnote 8, reproduced p. 38, fig. 30 (as Pedro Machuca?, formerly attributed to a follower of Raphael or specifically to Giovan Francesco Penni). CATALOGUE NOTE The artist's eponymous work is his copy after Perugino's Lamentation (Galleria Palatina, Palazzo Pitti, Florence) in the Church of San Bartolo in Tuto, Scandicci (near Florence). Little is known about the painter's activity though it is likely that he began his training under Perugino (given the existence of the aforementioned copy) and, since the style of his other known works are closer to that of the pupils of Domenico Ghirlandaio, and in particular to Ridolfo Ghirlandaio, it is likely that he later moved to Florence to work in his circle. The smooth handling and Raphaelesque overtones in this picture are particularly close to those in the Master's panel of The Madonna and Child with the Infant St. John the Baptist sold at Sotheby's, London, 9 December 1981, lot 24. For a comprehensive list of the artist's oeuvre see E. Fahy, Some Followers of Domenico Ghirlandaio , New York/London 1976, pp. 196-197. The painting once belonged to the great English collector Edward Solly (1776-1844). Solly moved to Berlin in 1813, married the daughter of Auguste Krüger there three years later, and in November 1821 sold his entire collection to King Frederick William III of Prussia. He returned shortly afterwards to London, where he lived in an elegant house in Curzon Street in Mayfair, and was visited by Schinkel in 1826 and by Waagen in 1835. Gustav Waagen, who was a great admirer of Solly's, praised his taste for collecting Renaissance paintings in a letter dated 10 July 1838: " Mr. Solly is one of those rare characters who have attained the complete conviction that the works of the historical painters of the time of Raphael are at a height of perfection with which no others can bear a comparison " (G.F. Waagen, Works of Art and Artists in England, London 1838, vol. II, p. 186). The painting once formed part of Solly's collection where it was, understandably though rather optimistically, attributed to Raphael, by whom it was thought to be throughout most of its present family ownership. Though included in the posthumous catalogue of paintings in Edward Solly's collection (see Literature ), the painting was not amongst those in Solly's deceased sale (London, Christie's, 18 May 1847) and may therefore have been inherited by his daughter, Miss Sarah Solly, a hypothesis lent support by family tradition that the painting was received as a gift by a forebear of the present owner from one of Solly's descendants. The attribution to the Master of the Scandicci Lamentation has been endorsed on the basis of photographs by Everett Fahy, to whom we are grateful.