GHERARDO STARNINA (FLORENCE 1354-1413) - photo 1
GHERARDO STARNINA (FLORENCE 1354-1413) - photo 2
GHERARDO STARNINA (FLORENCE 1354-1413) - photo 3

GHERARDO STARNINA (FLORENCE 1354-1413)

Lot 118
18.05.2022 14:30UTC +01:00
Classic
Sold
€ 88 200
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 761276
Lot 118 | GHERARDO STARNINA (FLORENCE 1354-1413)
Estimate value
€ 70 000 – 100 000
GHERARDO STARNINA (FLORENCE 1354-1413)Sainte Catherine d'Alexandrie et saint Jean-Baptistetempera sur panneau et fond d'or, un fragment27 x 30 cm (11 3⁄4 x 10 1⁄2 in.) Provenance Collection Alexis-François Artaud de Montor (1772-1849), Paris, France.Sa vente, hôtel des ventes de la Place de la Bourse, Paris, (Me Seigneur), 16 et 17 janvier 1851, lot 69 (comme 'Buffalmacco, qui florissait en 1351'). Collection Robert Lebel (1901-1986), Paris, France, 1974.Vente Me Loudmer, hôtel Drouot, Paris, 10 février 1992, lot 19 (comme 'Gherardo di Jacopo Starnina').G. Sarti Antiques Ltd, Londres, Grande-Bretagne, 1995.Collection du Docteur André Convert (1931-2021), région Rhône-Alpes, France. Literature A.-F. Artaud de Montor, Considérations sur l'état de la peinture en Italie dans les quatre siècles qui ont précédé celui de Raphaël, suivi du catalogue raisonné d'une collection de 150 tableaux des XII, XIII, XIV, XVe siècles, Paris, 1811, p. 86, n°69 (comme 'Buffalmacco, qui florissait en 1351'). A.-F. Artaud de Montor, Peintres primitifs. Collection de tableaux rapportée d'Italie, Paris, 1843, p. 37, n°69 (comme 'Buffalmacco'), reproduit en noir et blanc pl. 25. C. Volpe, 'Per il completamento dell'altare di San Lorenzo del Maestro Bambino Vispo', Mittteilungen des Kunsthistorischen Institutes in Florenz, 1973, XVII, fasc. 2-3, pp. 186-187 (comme 'Maestro del Bambino Vispo'), reproduit en noir et blanc pp. 186-187, figs. 10-11. A. T. Lurie, 'In search of a Valencian Madonna by Starnina', The Bulletin of the Cleveland Museum of Art, décembre 1989, CXXVI, 10, p. 350, p. 370 et p. 372 (comme ‘attribué au maître du Bambino Vispo’), reproduit en noir et blanc p. 350, fig. 22. N. P., Le Journal des Arts, septembre 1995, 17, pp. 39-40, reproduit en noir et blanc p. 39. G. Sarti, Trente-trois primitifs italiens de 1310 à 1500 : du Sacré au Profane, Paris, 1998, pp. 106-108, n°16 (comme ‘Gherardo di Jacopo, dit Gherardo Starnina’), reproduit en couleurs p. 107. Post lot text GHERARDO STARNINA, SAINT CATHERINE OF ALEXANDRIA AND SAINT JOHN THE BAPTIST, TEMPERA ON PANEL AND GOLD GROUND, A FRAGMENTIn his masterpiece the Lives of the Most Excellent Painters, Sculptors and Architects, Giorgio Vasari (1511-1574) placed Gherardo Starnina (1351-1413) amongst the greatest artists, for him Starnina was the equal of Agnolo Gaddi (circa 1350-1396) and Lorenzo Monaco (1370-1425). According to Vasari, the Florentine painter spent almost a decade in Spain between 1378 and 1387, and on his return to his native city he introduced the International Gothic style to his fellow artists, paving the way for artists such as Masaccio (1401-1428), Fra Angelico (1395-1455) and Masolino da Panicale (1383-1447). However, until 1974 the artist remained an enigma for modern art historians. Starnina’s work was divided in two, with the lion’s share attributed to the 'Maestro del Bambino Vispo'. Thanks to the remarkable work of Jeanne van Waadenoijen (J. van Waadenoijen, ‘A Proposal for Starnina: Exit the Maestro del Bambino Vispo?’, Burlington Magazine, 1974, CCXVI, pp. 82-91) we now understand that these two painters were one and the same, and can appreciate the importance of Starnina's contribution to the evolution of the Florentine school. This small panel, with its vivid colours, rich punchwork and delicate brushstrokes, is replete with the humanity and charm that mark all of Starnina's paintings. The elegant figure of St. Catherine wears sumptuous clothes, in her hand she holds a martyr's palm and on her head she has a magnificent crown. The crown reappeared after the panel was cleaned, and does not appear in old images of the panel. This explains why the great collector Alexis François Artaud de Montor (1772-1849) was unable to identify the saint when the panel was part of his famous collection of gold grounds in the early 19th century. In the same collection there was also a panel depicting Saint Benedict and Saint Lucy that may have originated from same altarpiece as ours.
Applied technique:Painted, Tempera
Art style:Old Masters
Place of origin:Italy, Europe
Auction house category:Paintings
Address of auction CHRISTIE'S
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