ATELIER DE FILIPPINO LIPPI (1457-1504)

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€ 50 400
Auction date Classic
18.05.2022 14:30 UTC +01:00
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CHRISTIE'S
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France, Paris
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ID 761453
Lot 119 | ATELIER DE FILIPPINO LIPPI (1457-1504)
ATELIER DE FILIPPINO LIPPI (1457-1504)L'Annonciationporte l'inscription 'ECCE ANCILLA DOMINI FLAT SECUNDUM VERBUM TU' (en haut, à droite)huile sur panneau42 x 47 cm (16 1⁄2 x 18 1⁄2 in.) Provenance Collection William Fuller Maitland (1844-1932), Londres, Grande-Bretagne.Collection Robert Langton Douglas (1864-1951), Londres, Grande-Bretagne, vers 1925.Collection C. W. Nichols Jr et Mme Raymond Houleenbeek (selon le catalogue de vente de 1996, op. cit. infra).Vente Christie's, New York, 15 mai 1996, lot 105 (comme 'atelier de Filippino Lippi').G. Sarti Antiques Ltd, Londres, Grande-Bretagne.Collection du Docteur André Convert (1931-2021), région Rhône-Alpes, France. Literature P. Zambrano, J. K. Nelson, Filippino Lippi, Milan, 2004, p. 409 et p. 592, n°49.2 (comme 'atelier de Filippino Lippi'), reproduit en noir et blanc p. 409, fig. 330. Post lot text WORKSHOP OF FILIPPINO LIPPI, THE ANNUNCIATION, OIL ON PANELThis detailed depiction of the Annunciation closely follows the prototype, now in the Hermitage in St. Petersburg (inv. ГЭ-4079), executed by the Florentine Filippino Lippi (1457-1504) late in his career. The complexity of the composition is belied by the calm that pervades the scene. The attitude of the angel Gabriel, humbly kneeling, reflects the importance of his message, while Mary sits serenely, ready to receive the Holy Spirit. The genius of the composition lies in the comparison between these two beings. The one coming from heaven is almost impossibly light, barely touching the ground, his draperies floating in a heavenly breeze; the other, human, is more sculptural, part of the world represented here in such detail. The various books play a double symbolic role: they suggest the presence of Christ, the Word made Flesh, but also the consent of the Virgin, whose destiny was predicted in the Old Testament. The inscription at the top of the bed (which may have been added at a later date) underlines the latter symbolism; Ecce ancilla Domini fiat mihi secundum verbum tu[um] - 'Behold the handmaid of the Lord; let all things happen to me according to thy word'. Once attributed to Raffaellino del Garbo (1466-1527), who trained in Lippi's workshop, the prime version of the present painting is now universally accepted as the work of Lippi himself. It is possible that the painting in the Hermitage, which is smaller than our version, was conceived as part of a predella. We are not in a position to say whether the same applies to our Annunciation, but its larger format suggests that it was intended as a stand-alone painting for private devotion.For our painting, attributions to Lorenzo di Credi (1459-1537) and to the Master of Memphis (active in Florence around 1500-1510), a late collaborator of Lippi, have also been suggested.
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