|Title||Madonna and Child Enthroned with Saints|
|Collection||Birmingham Museum and Art Gallery|
|Artist||Master of S. Lucchese (Italian artist, active 14th-15th centuries)|
|Date Earliest||about 1350|
|Date Latest||about 1400|
|Description||This panel would have formed the central part of a portable triptych and shows the Virgin Enthroned as Queen of Heaven. With her are Saints Peter, Anthony Abbot, John the Baptist, Mary Magdalene [?], Lawrence, Paul, Catherine of Alexandria [?] and an unidentified male saint.
The formal Eastern Orthodox type of Virgin depicted full-face holding a standing, fully-clothed Child with hand raised in blessing was already giving way to a more intimate version. The new 'realism' evident in the cheek to cheek embrace of Virgin and Child was partly due to changes in theological thinking, which had begun to stress the humanity of Christ.
|Current Accession Number||1958P30|
|Former Accession Number||P.30´58|
|Subject||religion (Virgin and Child, Saints Peter, Anthony Abbot, John the Baptist, Mary Magdelene, Lawrence, Paul, Catherine of Alexandria [?] and unknown male saint)|
|Measurements||54.0 x 24.8 cm cm (estimate)|
|Material||tempera on panel|
|Acquisition Details||Unknown 1958.|
|Provenance||Leopold II, Duke of Tuscany, after 1824.|
|Principal Exhibitions||Old Masters from the City of Birmingham, Wildenstein, London, 1970, cat. no. 2.|
|Publications||Apollo, vol. 92, 1970, p. 378; Catalogue of Paintings in Birmingham City Museum and Art Gallery, 1960; Foreign Paintings in Birmingham Museum and Art Gallery, A Summary Catalogue, 1983, no. 97.|
|Notes||On reverse is a seal with the arms of Leopold II who was Grand Duke of Tuscany from 1824 - 1859.
On reverse, label no. 1 'Par/Le Giotto, Florentin, Fondateur de/l'Ecole Toscane et Contemporain du/Dante - 1320- [116754 in pencil]'; label no. 2: 'L 340'; label no. 3 '[?] Gallery [...]; label no. '17'.
Richard Offner has attributed this Tuscan painting to the same hand that painted the panel, Madonna and Child with Saints attributed to Jacopo di Cione (Kress Collection, National Gallery, Washington, now on loan to M. H. De Young Memorial Museum, San Francisco); see Shapley, F. R., Paintings from the Samuel Kress Collection, Italian Schools XIII-XV Century, 1966, p. 33, fig. 82) . In the same letter of 1960 (gallery archives), he stated that 'The two fall into the Maso-Cione trend and bear signs also of the earlier tradition of Bernardo Daddi. They were painted very probably at the beginning of the fourth quarter of the Trecento.' This painting is now also attributed to the Master of San Lucchese. In a letter from Miklos Boskovits, 1969 (gallery archives), he states that this is 'a very important work of the anonyous painter baptised by art historians as §Maestro di San Lucchese§ and it was probably executed during the 50s of the fourteenth century'. In another letter, Boskovits suggests that it is an example of the Master of San Lucchese's work 'in his early, very Masesque period.'
|Rights Owner||Birmingham Museum and Art Gallery|
|Author||Dr Patricia Smyth|