LOT 301
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Giovanni Mazone Madonna and Child with Musical Angels and Saints Francis of Assisi, Dominic or Bonaventura, Peter, John the Baptist, Bernardino of Siena, and Louis of Toulouse; the Annunciation; and the Crucifixion with the Madonna and Saints Mary Magdalene and John the Evangelist
作品估价：USD 70,000 - 90,000
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成交状态：未知
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26%
图录号：
301
拍品名称：
Giovanni Mazone Madonna and Child with Musical Angels and Saints Francis of Assisi, Dominic or Bonaventura, Peter, John the Baptist, Bernardino of Siena, and Louis of Toulouse; the Annunciation; and the Crucifixion with the Madonna and Saints Mary Magdalene and John the Evangelist
拍品描述：
Property of The Bass, Miami Beach to benefit the John and Johanna Bass Art Acquisition Fund
Giovanni Mazone
Alessandria 1433 - 1511 Genoa
Madonna and Child with Musical Angels and Saints Francis of Assisi, Dominic or Bonaventura, Peter, John the Baptist, Bernardino of Siena, and Louis of Toulouse; the Annunciation; and the Crucifixion with the Madonna and Saints Mary Magdalene and John the Evangelist
tempera on panel, gold ground, shaped tops, a polyptych
overall: 107 ½ by 87 ⅜ in.; 273.1 by 221.9 cm
Commissioned for the Monastery of the Franciscan Friars Minor Recollect, Corbara, Corsica, circa 1480;
Auguste Fiot, 15 Rue Cassette, Paris (according to an inscription on the verso);
With Heim Gallery, Paris, late 1950s;
"Comtesse X";
By whose trustees sold, Paris, Galerie Charpentier, 16 March 1959, lot 77 (as School of Vivarini);
Where acquired by John and Johanna Bass, New York;
By whom bequeathed to the Bass Museum of Art, Miami Beach, in 1963 (inv. no. 63.17).
A.M. Folli, "Giovanni Mazone: pittore genovese del Quattrocento," in Studi Genuensi 7 (1970-1971), pp. 168, 170-172, reproduced fig. 6 (as Mazone);
B. Fredericksen and F. Zeri,Census of Pre-Nineteenth: Century Italian Paintings in North American Public Collections,Cambridge 1972, pp. 123, 595 (as Mazone);
The John and Johanna Bass Collection at Miami Beach, Florida,Miami 1973, p. 11, cat. no. 17 (as Mazone);
M. Boskovits, "Nicolò Corso e gli altri, Spigolature di pittura lombardo-ligure di secondo Quattrocento," in Arte Cristiana 75, no. 723 (November-December 1987), pp. 362, 382 note 47, reproduced fig. 24 (as Mazone);
P.L. Roberts, inPaintings and Textiles of the Bass Museum of Art:Selections from the Collection,M.A. Russell (ed.), Miami 1990, pp. 8-9, reproduced (as Giovanni Barbagelata);
G. Algeri and A. de Floriani, La pittura in Liguria: Il Quattrocento, Genoa 1991, p. 300, reproduced fig. 267 (as Ligurian artist, active in the 1480s);
D. Benati, in Da Ambrogio Lorenzetti a Sandro Botticelli, exhibition catalogue, Florence 2003, pp. 178, 180 note 3, 182, 185 note 3 (as Mazone);
G. Zanelli, "'Costumò Mazone di spendere il tempo tra il suo Monferrato a la nostra Liguria': pittori da Alessandri a Genova nel Rinascimento," in Uno spazio storico, Committenze, istituzioni e luoghi nel Piemonte meridionale, G. Spinoe and A. Torre (eds.), Utet 2007, p. 16 note 44 (as Mazone);
P.L. Roberts, Corpus of Early Italian Paintings in North American Public Collections, The South, Athens, Georgia 2009, vol. II, p. 514, reproduced (as Mazone);
A. Galli, "Una commissione dei Doria per Giovanni Mazone (e una precisazione su Vincezo Foppa a Genova)," in Prospettiva 101 (January 2001), p. 78 note 23 (as Mazone);
L. Nieddu, "Influssi del Ponente ligure nei polittici del Quattro-Cinquecento in Corsica: riletture e inediti," in Arte Cristiana 917 (2020), pp. 130-131, 133 note 12, reproduced fig. 4 (as Workshop of Mazone).
Miami, Bass Museum of Art,Highlights of the John and Johanna Bass Collection,3 November - 9 December 1990;
Miami, Bass Museum of Art, Framing the Altarpiece: The Birth of the Modern Painting Out of the Spirit of the Gothic Cathedral, 27 June - 13 September 2009;
Miami, Bass Museum of Art,Human Rites, 25 June - 3 October 2010;
Miami, Bass Museum of Art,An Invitation to LOOK,1 April - 3 July 2011.
The Genoese painter Giovanni Mazone produced this remarkable polyptych circa 1480 for the Monastery of the Franciscan Friars Minor Recollect in Corbara, Corsica (at the time a Genoese dependency). First attributed to Mazone by Roberto Longhi, the altarpiece belongs to the artist’s mature period, when he adeptly combined archaicizing Gothic conventions with Renaissance artistic trends.1 Very likely retaining its original, richly carved and gilded frame, the polyptych is a testament to Mazone’s ability to integrate seemingly disparate stylistic influences within a single pictorial ensemble.
Near life-size figures—all depictions of important Franciscan saints—populate the monumental altarpiece’s lower tier, which centers on the Madonna and Christ Child accompanied by four music-playing angels. The lower tier’s gold-leaf backgrounds and elaborate use of pastiglia in the halos and saintly attributes, for instance, contrasts with the upper tier’s perspectivally rendered landscape and architectural settings. Likewise, the throne—which recalls a similar structure in Mazone’s Saint Benedict Enthroned between Saints Catherine of Alexandria, John the Baptist, Paul, and Giustina, today in the Walker Art Gallery, Liverpool2—is rendered with an acute sense of volume.
1 Longhi's letter of expertise cited in The John and Johanna Bass Collection at Miami Beach, p. 11.
2 Inv. no. WAG 2788.
Giovanni Mazone
Alessandria 1433 - 1511 Genoa
Madonna and Child with Musical Angels and Saints Francis of Assisi, Dominic or Bonaventura, Peter, John the Baptist, Bernardino of Siena, and Louis of Toulouse; the Annunciation; and the Crucifixion with the Madonna and Saints Mary Magdalene and John the Evangelist
tempera on panel, gold ground, shaped tops, a polyptych
overall: 107 ½ by 87 ⅜ in.; 273.1 by 221.9 cm
Commissioned for the Monastery of the Franciscan Friars Minor Recollect, Corbara, Corsica, circa 1480;
Auguste Fiot, 15 Rue Cassette, Paris (according to an inscription on the verso);
With Heim Gallery, Paris, late 1950s;
"Comtesse X";
By whose trustees sold, Paris, Galerie Charpentier, 16 March 1959, lot 77 (as School of Vivarini);
Where acquired by John and Johanna Bass, New York;
By whom bequeathed to the Bass Museum of Art, Miami Beach, in 1963 (inv. no. 63.17).
A.M. Folli, "Giovanni Mazone: pittore genovese del Quattrocento," in Studi Genuensi 7 (1970-1971), pp. 168, 170-172, reproduced fig. 6 (as Mazone);
B. Fredericksen and F. Zeri,Census of Pre-Nineteenth: Century Italian Paintings in North American Public Collections,Cambridge 1972, pp. 123, 595 (as Mazone);
The John and Johanna Bass Collection at Miami Beach, Florida,Miami 1973, p. 11, cat. no. 17 (as Mazone);
M. Boskovits, "Nicolò Corso e gli altri, Spigolature di pittura lombardo-ligure di secondo Quattrocento," in Arte Cristiana 75, no. 723 (November-December 1987), pp. 362, 382 note 47, reproduced fig. 24 (as Mazone);
P.L. Roberts, inPaintings and Textiles of the Bass Museum of Art:Selections from the Collection,M.A. Russell (ed.), Miami 1990, pp. 8-9, reproduced (as Giovanni Barbagelata);
G. Algeri and A. de Floriani, La pittura in Liguria: Il Quattrocento, Genoa 1991, p. 300, reproduced fig. 267 (as Ligurian artist, active in the 1480s);
D. Benati, in Da Ambrogio Lorenzetti a Sandro Botticelli, exhibition catalogue, Florence 2003, pp. 178, 180 note 3, 182, 185 note 3 (as Mazone);
G. Zanelli, "'Costumò Mazone di spendere il tempo tra il suo Monferrato a la nostra Liguria': pittori da Alessandri a Genova nel Rinascimento," in Uno spazio storico, Committenze, istituzioni e luoghi nel Piemonte meridionale, G. Spinoe and A. Torre (eds.), Utet 2007, p. 16 note 44 (as Mazone);
P.L. Roberts, Corpus of Early Italian Paintings in North American Public Collections, The South, Athens, Georgia 2009, vol. II, p. 514, reproduced (as Mazone);
A. Galli, "Una commissione dei Doria per Giovanni Mazone (e una precisazione su Vincezo Foppa a Genova)," in Prospettiva 101 (January 2001), p. 78 note 23 (as Mazone);
L. Nieddu, "Influssi del Ponente ligure nei polittici del Quattro-Cinquecento in Corsica: riletture e inediti," in Arte Cristiana 917 (2020), pp. 130-131, 133 note 12, reproduced fig. 4 (as Workshop of Mazone).
Miami, Bass Museum of Art,Highlights of the John and Johanna Bass Collection,3 November - 9 December 1990;
Miami, Bass Museum of Art, Framing the Altarpiece: The Birth of the Modern Painting Out of the Spirit of the Gothic Cathedral, 27 June - 13 September 2009;
Miami, Bass Museum of Art,Human Rites, 25 June - 3 October 2010;
Miami, Bass Museum of Art,An Invitation to LOOK,1 April - 3 July 2011.
The Genoese painter Giovanni Mazone produced this remarkable polyptych circa 1480 for the Monastery of the Franciscan Friars Minor Recollect in Corbara, Corsica (at the time a Genoese dependency). First attributed to Mazone by Roberto Longhi, the altarpiece belongs to the artist’s mature period, when he adeptly combined archaicizing Gothic conventions with Renaissance artistic trends.1 Very likely retaining its original, richly carved and gilded frame, the polyptych is a testament to Mazone’s ability to integrate seemingly disparate stylistic influences within a single pictorial ensemble.
Near life-size figures—all depictions of important Franciscan saints—populate the monumental altarpiece’s lower tier, which centers on the Madonna and Christ Child accompanied by four music-playing angels. The lower tier’s gold-leaf backgrounds and elaborate use of pastiglia in the halos and saintly attributes, for instance, contrasts with the upper tier’s perspectivally rendered landscape and architectural settings. Likewise, the throne—which recalls a similar structure in Mazone’s Saint Benedict Enthroned between Saints Catherine of Alexandria, John the Baptist, Paul, and Giustina, today in the Walker Art Gallery, Liverpool2—is rendered with an acute sense of volume.
1 Longhi's letter of expertise cited in The John and Johanna Bass Collection at Miami Beach, p. 11.
2 Inv. no. WAG 2788.