Lot n° 38
Estimation :
6000 - 8000
EUR
Result with fees
Result
: 65 688EUR
NICCOLO DI PIETRO GERINI Connu à florence de 1368 à 1415
The Virgin and Child on a throne between Saint John the Baptist, Saint John the Evangelist and two angels.
Unique devotional panel
Egg painting and gold background on rectangular wooden panel, top in tiers-points surrounded by a gilded and carved Gothic frame of origin
Gold background and original stamped ornamentation
Inscription on the base of the frame in gilded gothic letters on a black background: AVE MARIA GRA(tia) repainted
H. 77cm ; L.43cm Panel
H.57cm ; L.31cm Pictorial surface
Condition:
On the reverse, panel with numerous open galleries of wood-boring insects and various labels. Pictorial surface and gold background : wear and restorations
Marked ornamentation: original
Provenance:
Former Louis-Pierre Bresset collection, Château de la Rochelambert, Haute-Loire.
Exhibitions:
Art of the Middle Ages, Galertie San Michele, Marseille 1949
Art of the Middle Ages, Marseille, Cantini Museum 1952
Art of the Middle Ages, Château de la Rochelambert, 1953, as Niccolo di Pietro Gerini, Tapestry and Art in the Middle Ages and the Renaissance, Château de Culan 1960 as Niccolo Gerini
The Virgin, seated on an architectural throne richly adorned with an ornamental cloth, holds the Child in her arms and dominates by her high stature the center of this composition where, on either side, are placed each of the characters. The throne rests on a slightly recessed trapezoidal pedestal, accentuating the perspective effect of the pavement on which stand the two Saints John, who, by their slanted position, also participate in this efficiency. The elongated aspect of their bodies, as well as that of the angels placed above each of them, create, in a symmetrical arrangement, an ascending movement highlighting the Virgin and the Child.
The expressions of the two saints remain dignified and restrained, those of the two angels marked by devotion. In the draperies, the pink coloring, tender and delicate, contrasts with the depth of the dark tones, thus exalting their liveliness. Niccolo di Pietro Gerini, enrolled at the Arte dei Medici e Speziali in Florence in 1368, belongs to the generation of Florentine painters who, after the Plague of 1348, and following the Orcagna brothers, participated in the revival of Giotto art at the end of the 14th century. Like most of his contemporaries, he was as much a fresco artist (cf. the scenes in the sacristy of Santa Croce in Florence, B.
Berenson, Italian Pictures of the Renaissance, Florentine School, London 1963, fig.381, or those of the chapter house of the church of San Francesco in Pisa, cf. M. Boslovits, Pittura Fiorentina alla vigilia del Rinascimento, florence 1975, fig. 188 and p. 402-415) as well as an easel painter, producing numerous paintings, including those intended for the particular devotion of important people, to which the model presented here bears witness, and which he repeated in numerous examples (cf. Boskovits, figs. 187-190)
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