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  • Provenance

    Ehrich Galleries, New York
    Oscar Klein, New York
    Plaza Art Galleries, New York
    Hardt Collection, Greenwich
    Private Collection, Maine

  • Exhibited

    ‘Beauty and Duty: The Art and Business of Renaissance Marriage’, Bowdoin College Museum of Art, Brunswick, Maine, March 24 – July 22, 2008

  • Literature

    Adolfo Venturi, Storia dell’arte italiana, vol. IX, part 7, Milan, 1934, p. 781
    Federico Zeri, Pittura e Controriforma; L’ “arte senza tempo” di Scipione da Gaeta, Turin, 1957, illustrated p. 70, pl. 87
    Erasmo Vaudo, Scipione Pulzone da Gaeta, pittore, Gaeta, 1976, p. 42
    Alessandro Zuccari, The Age of Caravaggio, exh. cat., Metropolitan Museum of Art, New York, 1985, p. 171 for a simliar example
    Augusto Donò, ‘Scipione Pulzone (1545–1598), il pittore della ‘Madonna della Divina Provvidenza’, Barnabiti Studi. Rivista di reicerche storiche dei Chierici Regolari di S.
    Paolo (Barnabiti), XIII 1996, p. 58, no. 23
    Alexandra Dern, Scipione Pulzone (ca. 1546–1598), Weimar, 2003, illustrated p. 263, fig 51
    Susan E. Wegner, Beauty & Duty: The Art and Business of Renaissance Marriage, Brunswick, 2008, illustrated p. 45, no. 13.

  • Catalogue Essay

    Maria, the daughter of Grand Duke Francesco I de’ Medici, was born in 1573 and later became Queen of France, marrying Henry IV in 1600. When Pulzone painted this portrait, Maria was 21 years old. What makes a work ‘contemporary’ is not necessarily the fact that it was executed today, but more importantly, that it is relevant and resonant today. To me, the presence of stiffened lace in both the Pulzone portrait and the Marcel Wanders’ table and the implied technology necessary to achieve it, unite them, rendering both works contemporary even though executed 450 years apart.

41

Portrait of Maria de’ Medici

1594
Oil on canvas.
52 x 38 in (132.1 x 96.5 cm)
Left center signed and dated ‘Scipio. Caietan/us. Faciebat./ 1594’.

Estimate
$150,000 - 200,000 

Moss

16 October 2012
New York