LOT DETAILS

Materials:

tempera and gold on panel

Size Notes:

diameter-19.7 cm

Markings:

inscribed 'ECCE VIGO COCIP' (center right, on the scroll)

Exhibited:

New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection, 28 May-12 September 2010, no. 20.

Literature:

(Possibly) F. Bocchi and G. Cinelli, Le bellezze della città di Firenze, Florence, 1677, p. 389, as by an unknown artist (referencing the Annunciation altarpiece). (Possibly) L. Lanzi, Storia pittorica della Italia dal risorgimento delle belle arti fin presso alla fine del XVIII secolo, Bassano, 1795-96, I, p. 19, as Giotto (referencing the Annuniciation altarpiece). A.-F. Artaud de Montor, Peintres primitifs: Collection de tableaux rapportée d'Italie et publiée pa M. le chevalier Artaud de Montor, 3rd ed., Paris, 1843, no. 51, pl. 17, as Cimabue. A. Schmarsow, 'Maîtres italiens à la galerie d'Altenburg,' Gazette des beaux-arts, ser. 2, no. 20, 1898, p. 502, as Antonio Veneziano. O. Sirén, Don Lorenzo Monaco, Strasbourg, 1905, p. 44. G. Pudelko, 'The Stylistic development of Lorenzo Monaco, I,' Burlington Magazine, LXXIII, 1938, p. 248, note 33. W. and E. Paatz, Die Kirchen von Florenz, Frankfurt-am-Main, 1940-54, I, pp. 292, 315, no. 144, p. 316, no. 151; IV, pp. 694, 700, no. 31 (referencing the altarpiece). M. Eisenburg, The Origins and Development of the Early Style of Lorenzo Monaco, PH.D. dissertation, Princeton University, 1954, pp. 283-88, 310-11. M. Eisenberg, 'Un frammento smarrito dell'Annunciazione di Lorenzo Monaco nell'Accademia de Firenze,' Bolletino d'arte, ser. 4, no. 41, 1956, pp. 333-35. G. Previtali, La fortuna dei primitivi: Dal Vasari ai Neoclassici, Rome, 1964, p. 232. M. Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370-1400, Florence, 1975, p. 352. M. Eisenberg, Lorenzo Monaco, Princeton, N.J., 1989, I, pp. 149-50, illustrated p. 150. L. Kanter, Painting and Illumination in Early Renaissance Florence, 1300-1450, exhibition catalogue, New York, 1994, pp. 270-71, illustrated p. 271. D. Gordon, The Fifteenth Century: Italian Paintings, National Gallery Catalogues, London, 2003, I, pp. 177, 186, note 64, fig. 20. D. Parenti, in Lorenzo Monaco: A Bridge from Giotto's Heritage to the Renaissance, A. Tartuferi and D. Parenti, ed., exhibition catalogue, Florence, 2006, pp. 179-85, no. 27b, illustrated pp. 179 and 181. D. Parenti, ‘Qualche approfondamento su Lorenzo Monaco e sulla Chiesa di San Procolo a Firenze,’ Intorno a Lorenzo Monaco: Nuovi studi sulla pittura tardogotica, D. Parenti and A. Tartuferi ed., Florence, 2007 pp. 20-31. L. Kanter, Italian Paintings from the Richard L. Feigen Collection, New Haven, 2010, pp. 69-73, no. 20, illustrated. S. Rossi, I pittori fiorentini del quattrocento e le loro botteghe : da Lorenzo Monaco a Paolo Uccello, Todi, 2012, p. 48.

Provenance:

Probably the Church of San Procolo, Florence, for the altar endowed by Antonio di Andrea del Pannocchia (died 1412/13), until the church was suppressed in 1778 (thought to be the original location of the Accademia Annunciation altarpiece to which this tondo belonged). (Possibly) the Badia Fiorentina, Florence, by 1795 and before 1810 (where, according to a label on the reverse, the Annunciation altarpiece was found). Alexis-François Artaud de Montor (1772-1849), Paris; (†) his sale, Schroth, Paris, 17 January 1851, lot 51. Anonymous sale; Sotheby's, London, 8 July 1987, lot 20, where acquired by the present owner.