Estimated Price:

   $   

Realized Price:

   $   

What is this symbol? This symbol indicates that this auction hose has verified this price result.

Log in or subscribe to view price data

The Madonna and Child with the Infant Saint John the Baptist tempera on panel, tondo 30 in. (76.2 cm.) diam. PROVENANCE Acquired by the Hereditary Prince George II of Saxe-Meiningen, Duke of Saxony (1826-1914) in 1851 in Italy for the private collection of Italian Masters at Schloss Elisabethenburg, Meiningen, Thuringia, and by descent in the private collection of the Ducal House of Saxe-Meiningen. LITERATURE H. Ulmann, Sandro Botticelli, Munich, 1893, p. 151. J.A. Crowe and G.B. Cavalscavelle, Storia della pittura italiana dal secolo II al secolo XVI, VI, Florence, 1894, p. 295. Verzeichnis der bedeutendsten Gem„lde im Herzogl. Residenzschlosse zu Meiningen, c. 1890, no. 36, in the Roter Salon. P. Lehfeld and G. Voss, Bau und Kunstdenkm„ler Th쳌ringens, 1909, pp. 157, 163 and 166, no. 262. Gem„lde im Verzeichnis der national wertvollen Kunstwerke, 1938, p. 3, no. 1. EXHIBITION Darmstadt, Hessisches Landesmuseum, 1968-2002, on loan. NOTES Botticelli's tondi of the Madonna and Child with Saints or Angels are among the most celebrated productions of late quattrocento Florence. In addition to autograph masterpieces such as the Madonna of the Magnificat (Florence, Uffizi), a number of tondi were painted in his workshop. This example is one of a group of variants of a design that may have evolved in circa 1480. Two other panels of the same pattern are recorded, whose most obvious differences are in the landscape seen through the opening on the left: the rather larger picture formerly owned by Dr. E. Hultmast of Stockholm shows Saint Francis receiving the stigmata, with the chapel at La Verna, while in the picture formerly in the Leyland and Bauer collections, which is only marginally larger in diameter than the present example (86.8 cm.), there is an open landscape. The rhythm of the upper part of the Madonna, with her bowed head, the long silhouette of the left shoulder and her left arm, is similar to that of a tondo formerly in the Cook collection, Richmond (no. 24).