Biagio Pupini Paintings & Artwork for Sale | Biagio Pupini Art Value Price Guide

Jul. 03, 2024
The scourging of a male Saint
Est: £10,000 - £15,000
Biagio Pupini, called Biagio dalle Lame (active Bologna circa 1511 - 1575) The scourging of a male Saint Pen and brown ink and wash, heightened with white; bears old attribution in pen and ink, lower center: F. Parmagiano 247 by 196 mm
Sotheby's
Feb. 01, 2024
BIAGIO PUPINI, CALLED BIAGIO DELLE LAME (BOLOGNA, ACTIVE CIRCA The Death of
Est: $5,000 - $7,000
BIAGIO PUPINI, CALLED BIAGIO DELLE LAME (BOLOGNA, ACTIVE CIRCA The Death of Meleager (recto); Calligraphic exercises (verso) pen and brown ink, brown wash, heightened with white, on prepared ochre paper (recto); pen and brown ink (verso), watermark anchor in a circle 6 ¾ x 13 in. (17 x 33 cm)
Christie's
Jan. 31, 2024
Mystic Marriage of Saint Catherine of Alexandria
Est: $60,000 - $80,000
Biagio Pupini, called Biagio dalle Lame active Bologna 1511 - 1575 Mystic Marriage of Saint Catherine of Alexandria oil on panel panel: 30 ⅛ by 24 ⅞ in.; 76.5 by 63.2 cm. framed: 40 ¾ by 35 ½ in.; 103.5 by 90.2 cm.
Sotheby's
Jan. 31, 2024
The scourging of a male Saint
Est: $30,000 - $40,000
Biagio Pupini active Bologna circa 1511 - 1575 The scourging of a male Saint pen and brown ink and wash, heightened with white; bears old attribution in pen and ink, lower center: F. Parmagiano 9 ⅝ by 7 ½ in.; 247 by 196 mm
Sotheby's
Dec. 01, 2023
Pupini dalle Lame, Biagio: Hl. Thomas
Est: €1,000 - €1,200
Der Apostel Thomas. -- Pinsel in Braun über Graphit, weiß gehöht, auf blauem Papier, auf Untersatzkarton montiert. 15,9 x 9,6 cm. Um 1530. -- -- Vorliegende Zeichnung gehört dem Frühwerk Pupinis an und kann dank eines Kupferstichs von Marcantonio Raimondi, der die gleiche Komposition im Gegensinn zeigt (Bartsch XIV, 118, 132), um 1530 datiert werden. Da Raimondi zuletzt 1534 erwähnt wird, erscheint eine Entstehungszeit in diesem Zeitraum plausibel. Möglicherweise handelt es sich bei unserem Blatt trotz des unterschiedlichen Formats um ein modello für den Kupferstich. Im Allgemeinen sind Pupinis Zeichnungen freier und robuster im Duktus, auf unserem Blatt ist der Zeichenstil jedoch sorgfältiger und konzentrierter. Die subtile Anwendung von Halbtönen und die sorgfältigen Weißhöhungen, die in Parallelschraffuren aufgetragen sind, lassen den Schluss zu, dass die Zeichnung als Vorlage für einen Kupferstecher gedient haben könnte. Auf Raimondis Kupferstich ist im Vergleich zur Zeichnung eine Änderung der Draperie am linken Ärmel des Apostels erkennbar, wodurch diese sich ohne Hohlräume eng am Körper des Heiligen anschließt. Diese Vereinfachung ist ein Hinweis darauf, dass der Kupferstecher sich offenbar in Bezug auf seine Vorlage gewisse künstlerische Freiheiten erlauben konnte. Die Autorschaft Biagio Pupinis wurde von Nicholas Turner bestätigt. -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Oct. 25, 2023
Biagio Pupini
Est: €10,000 - €15,000
(Bologna active 1504–1558) The Nativity with a shepherd and Salome, oil on panel, 23 x 46.5 cm, framed Provenance (according to labels on the reverse): Alexander Penrose Forbes (1817–1875), Bishop of Brechin, Dundee; Collection of Cornelia Kouwenhoven van Neuren (1893–1981), Voorburg, The Netherlands; Collection of Dr. Martin de Wild (1899–1969), The Netherlands, possibly 1960s Exhibited (according to a label on the reverse): Dundee, Free Library and Museum Buildings, Fine Art Exhibition, November 1873, p. 16, cat. no. 188 (as Luca Signorelli) We are grateful to Enrico Ghetti for suggesting the attribution and for his help in cataloguing this lot. The present Nativity or Adoration of the Shepherds includes an elder woman depicted on the right of the composition who could be identified as Saint Anne, however, it has been suggested, that this figure is Salome, a figure frequently represented in Orthodox icons of the Nativity, following the apocryphal Gospel of James (XIX, 3; XX, 1). The present panel displays elements of Emilian Cinquecento painting, combining stylistic characteristics typical for Bologna, Parma and Ferrara and has been given to Biagio Pupini. The artist trained in the workshop of Francesco Francia (1460–1517) and Amico Aspertini (1474/1475–1552) but was also influenced by Girolamo da Carpi (1501–1556) and Parmigianino (1503–1540). The slender and elegant figures with pointed facial features appear in other works by the painter, including the Madonna with Child, Saint Jerome and Four Saints conserved in the Gemäldegalerie, Berlin and the Marriage of the Madonna in Palazzo Pitti, Florence (see R. Serra, Biagio Pupini non solo disegni, in: Intrecci d’arte, 10, 2021, pp. 33–49). Little is known about Biagio Pupini’s upbringing and education. However, in his Viridario from 1513, Giovanni Filoteo Achillini praised the musical and artistic talents of a certain ‘Biasio’, who most likely is to be identified with Biagio Pupini. The artist’s first documented commission is a now lost fresco cycle in San Pietro in Vincoli, Faenza 1511, executed together with Bartolomeo Ramenghi, il Bagnacavallo (1484–1542).
Dorotheum
Mar. 22, 2023
BIAGIO PUPINI DELLE LAME (ACTIF À BOLOGNE 1511-1551) Frise de putti plume e
Est: €4,000 - €6,000
BIAGIO PUPINI DELLE LAME (ACTIF À BOLOGNE 1511-1551) Frise de putti plume et encre brune, lavis brun, rehaussé de blanc 9,3 x 31,6 cm (3 5/8 x 12 3/8 in.)
Christie's
Oct. 14, 2021
Biagio Pupini, Biagio dalle Lame (Bologna, active 1511-1551) Christ among t
Est: $20,000 - $30,000
Biagio Pupini, Biagio dalle Lame (Bologna, active 1511-1551) Christ among the doctors pen and brown ink, brown wash heightened with white, on light brown paper 6 5/8 x 10 7/8 in. (16.7 x 27.6 cm)
Christie's
Oct. 13, 2021
* Pupini (Biagio, circa 1496-circa 1575). Nymph pouring water from an urn, circa 1530-40
Est: £2,000 - £3,000
* Attributed to Biagio Pupini (circa 1496-circa 1575). Nymph pouring water from an urn aided by putti, after Giulio Romano (1499-1546), pen and brown ink, brown wash with lead white and white chalk on pale blue paper, or 'carta azzurra', with a further composition to verso of the Madonna and Child with infant Saint John, brush and brown wash, and lead white and chalk, inscribed in an early hand to recto lower right in brown ink: R. Urbino, and with collector's mark (Lugt 2092) to lower right corner of Sir Peter Lely (1618-1680), some minor marks to sheet edges, sheet size 270 x 397 mm (10 5/8 x 15 5/8 ins), together with the lower edge only (23 x 287 mm) of an old (17th century) laid paper mount for the present work, with double rule border and inscription 'Raffaello d'Urbino' to centre and 'iv 3' towards right corner in brown ink, and 'Biaggio' in a later hand in dark brown ink to the left Qty: (1)
Dominic Winter Auctions
Jun. 09, 2021
Attribué à Biagio PUPINI Actif à Bologne entre 1511 et 1575 Etude de chevaux et de personnage masculin Lavis brun et rehauts de blan...
Est: €3,000 - €4,000
Attribué à Biagio PUPINI Actif à Bologne entre 1511 et 1575 Etude de chevaux et de personnage masculin Lavis brun et rehauts de blanc sur papier préparé rose Annoté 'Rafael' en bas à droite (Les angles coupés) Study of a man with horses, brown wash and white chalk, attr. to B. Pupini h: 15 w: 21,50 cm Provenance : Vente anonyme ; Paris, Piasa, 26 mars 2009, n°3 ; Acquis lors de cette vente par l'actuelle propriétaire ; Collection particulière, Bruxelles Estimation 3 000 - 4 000 €
Artcurial
Dec. 08, 2020
Biagio Pupini dalle Lame (Bologna 1511-1575) Cornelia rejects the crown fr
Est: £5,000 - £7,000
Biagio Pupini dalle Lame (Bologna 1511-1575) Cornelia rejects the crown from Ptolemy VII (?) traces of black chalk, point of the brush and brown ink, grey wash heightened with white on blue paper 8 x 6 1/8 in. (20.4 x 15.5 cm)
Christie's
Mar. 05, 2020
BIAGIO PUPINI (bottega di)
Est: €2,000 - €3,000
(Bologna, fine XV secolo - 1575 circa) Matrimonio mistico di Santa Caterina Olio su tavola, cm 60X49 Lo stile trova confronto con le opere di scuola emiliana e in quell'ambito artistico di derivazione peruginesca diffuso dagli allievi di Francesco Francia, esponenti di quella cultura rinascimentale sviluppatasi lungo la via Emilia durante i primi decenni del XVI secolo. La tavola presenta chiare attinenze con le Sacre Famiglie prodotte da questi artefici in diverse declinazioni illustrative. Tipica è anche la costruzione scenica del fondale, con a destra una tenda che chiude lo spazio a guisa di quinta, mentre la parte sinistra si apre su un paesaggio. A conforto di questa tesi, come detto, vengono in aiuto i molti dipinti pubblicati sia nella monografia dedicata al Francia e alla sua scuola (cfr. E. Negro, N. Roio, Francesco Francia e la sua scuola, Modena 1998), sia il monumentale lavoro di Vera Fortunati, ma analizzando con attenzione l'opera, si riscontrano palesi analogie con la produzione di Biagio Pupini. Secondo Malvasia il pittore fu allievo di Francesco ed è registrato per la prima volta come maestro nel 1511, quando collaborò con il Ramenghi alle perdute decorazioni a fresco nella chiesa di San Pietro in Vincoli a Faenza. Nel 1524 lo sappiamo impegnato ad affrescare nel Collegio di Spagna la Sacra Famiglia con Santa Elisabetta, il Bambino San Giovanni e Egidio Albornoz e negli anni successivi, sarà impegnato con Girolamo da Carpi a decorare la sagrestia di San Michele a Bosco di Bologna. È dopo queste imprese che si può collocare il viaggio a Roma, che detta sul pittore l'influenza di Polidoro da Caravaggio e il guardare con occhi nuovi le opere del Parmigianino del terzo decennio.
Wannenes Art Auctions
Dec. 03, 2019
BIAGIO PUPINI
Est: €10,000 - €15,000
(Bologna, fine XV secolo - 1575 circa) Madonna con Bambino e Santa Olio/tempera su tavola, cm 55X46 Provenienza: Edimburgo: collezione A. V. Smith Sligo Roma, collezione privata Etichetta sul retro della tavola: 'Works of Old Masters & Scottish National Portraits', Edinburgh 1883, n. 83 Esposizioni: 'Works of Old Masters & Scottish National Portraits', Edinburgh 1883, n. 83 (come Perugino) L'immagine del dipinto richiama il Matrimonio mistico di Santa Caterina, ma nel nostro caso, l'iconografia si differenzia nel Bimbo che porge una mela, gesto simbolico che allude al peccato originale e alla funzione salvifica di Gesù. Lo stile e la composizione trovano confronto con le opere di scuola emiliana e in quell'ambito artistico di derivazione peruginesca diffuso dagli allievi di Francesco Francia, in modo particolare dai figli Giacomo (Bologna, 1484 - 1557) e Giulio Francia (Bologna, 1487 circa - 1540) a cui aggiungiamo Bartolomeo Ramenghi detto Bagnacavallo- esponenti di quella cultura rinascimentale sviluppatasi lungo la via Emilia durante i primi decenni del XVI secolo. La tavola presenta chiare attinenze con le 'Sacre Famiglie' prodotte da questi artefici in diverse declinazioni illustrative. Tipica e'anche la costruzione scenica del fondale, con a destra una tenda che chiude lo spazio a guisa di quinta, mentre la parte sinistra si apre su un paesaggio. A conforto di questa tesi, come detto, vengono in aiuto i molti dipinti pubblicati sia nella monografia dedicata al Francia e alla sua scuola (cfr. E. Negro, N. Roio, 'Francesco Francia e la sua scuola', Modena 1998), sia il monumentale lavoro di Vera Fortunati, ma analizzando con attenzione l'opera, si riscontrano palesi analogie con la produzione di Biagio Pupini. Secondo Malvasia il pittore fu allievo di Francesco ed e' registrato per la prima volta come maestro nel 1511, quando collaboro' con il Ramenghi alle perdute decorazioni a fresco nella chiesa di San Pietro in Vincoli a Faenza. Nel 1524 lo sappiamo impegnato ad affrescare nel Collegio di Spagna la 'Sacra Famiglia con Santa Elisabetta, il Bambino San Giovanni e Egidio Albornoz' e negli anni successivi, sara'impegnato con Girolamo da Carpi a decorare la sagrestia di San Michele a Bosco di Bologna. E'dopo queste imprese che si puo'collocare il viaggio a Roma, che detta sul pittore l'influenza di Polidoro da Caravaggio e il guardare con occhi nuovi le opere del Parmigianino del terzo decennio. Cio' suggerisce allora una datazione precedente della tavola in esame, per le forti attinenze con le opere del Ramenghi e quindi a una collocazione cronologica al secondo decennio. Ringraziamo Emilio Negro e Nicosetta Roio per l'attribuzione. Ringraziamo Aidan Weston-Lewis della National Galleries of Scotland per le informazioni inerenti al catalogo della mostra 'Works of Old Masters & Scottish National Portraits'. Bibliografia di riferimento: A. M. Fioravanti Baraldi, 'Biagio Pupini detto dalle Lame', in 'Pittura bolognese del '500', a cura di V. Fortunati Pietrantonio, Bologna 1986, I, p. 187
Wannenes Art Auctions
Jul. 02, 2019
Biagio Pupini dalle Lame (Bologna 1511-1575) Pan playing his pipes and a nymph subduing a satyr, flanked by two other nymphs... pen and brown ink, brown wash heightened with white (recto and verso), fragmentary indistinct watermark 5 1/8 x 8 1/8 in.
Est: £10,000 - £15,000
Biagio Pupini dalle Lame (Bologna 1511-1575) Pan playing his pipes and a nymph subduing a satyr, flanked by two other nymphs (recto); Decorative motifs (verso) pen and brown ink, brown wash heightened with white (recto and verso), fragmentary indistinct watermark 5 1/8 x 8 1/8 in. (13 x 20.5 cm)
Christie's
Dec. 04, 2018
ATTRIBUTED TO BIAGIO PUPINI DALLE LAME (BOLOGNA 1511-1575) Christ and Saint
Est: £7,000 - £10,000
ATTRIBUTED TO BIAGIO PUPINI DALLE LAME (BOLOGNA 1511-1575) Christ and Saint Thomas with inscription 'Da quello che ho uisto in una Pietà mandatami molti anni sono/ dal Pre Gio fr˚. Morelli di Perugia io zaccolgo che guesta istoria sia/ [...] Rafaello. ad esequirsi à Gerol˚. da Cosignola suo descepolo/ [...] (partially trimmed) (verso) black chalk, grey wash, heightened with white, on blue paper 16 x 21 1/8 in. (40.5 x 53.5 cm.)
Christie's
Jan. 31, 2018
BIAGIO PUPINI | Design for an altarpiece: the resurrected Christ above the Madonna and the Apostles
Est: $20,000 - $30,000
Pen and brown ink and point of the brush and gray wash, heightened with white, on gray-green paper; bears Sagredo's inventory number in pen and brown ink on the backing sheet: S. F. n:o 28
Sotheby's
Jan. 31, 2018
BIAGIO PUPINI | The Apostle Thomas
Est: $5,000 - $7,000
Pen and brown ink and point of the brush and brown wash, heightened with white, on light blue paper, within pen and ink framing lines
Sotheby's
Jun. 14, 2016
BIAGIO PUPINI, (ITALIAN ACT. 1530-1540), THE BIRTH OF THE VIRGIN
Est: $6,000 - $8,000
BIAGIO PUPINI (italian act. 1530-1540) THE BIRTH OF THE VIRGIN Inscribed 'Ecole de Raphael' and numbered '12' bottom left; also inscribed extensively on the mount, in part, 'école de Raphael', brush and brown wash heightened with white over traces of blue chalk on faded blue paper 12 5/8 x 8 1/4 in. (32.1 x 21cm) provenance: Bears unidentified collector's mark (L. 366). Baron de Malaussena (L. 1886). Comte A. Marquet de Vasselot (L. 2499). With P & D Colnaghi & Co., London, by 1984. Sotheby's, New York, sale of January 13-14, 1989, lot 244. The Collection of Dr. Hilary Koprowski and Dr. Irena Koprowska.
Freeman's | Hindman
Jul. 08, 2015
BIAGIO PUPINI | The Birth of the Virgin
Est: £7,000 - £9,000
Point of the brush and brown wash heightened with white, over traces of black chalk, on faded blue paper; bears old attribution, lower left: Ecole de Raphaël and numbered: 12, and extensively inscribed on the mount, verso: Dessin Provinant dela collection de Monsr Lebarni / La collection des dessins dumusée en Sassède / une repetition Plus finie. / école de Raphael.
Sotheby's
Mar. 27, 2015
Attribué à Biagio Pupini Actif à Bologne entre 1511 et 1575 Cavaliers attaqués par un lion Plume et encre brune, crayon noir et reha...
Est: €4,000 - €6,000
Attribué à Biagio Pupini Actif à Bologne entre 1511 et 1575 Cavaliers attaqués par un lion Plume et encre brune, crayon noir et rehauts de gouache blanche sur papier bleu (Manque restauré en bas à gauche) 'RIDERS ATTACKED BY A LION', PEN AND BROWN INK, BLACK CHALK AND GOUACHE HIGHLIGHTS, ATTR. TO B. PUPINI h: 23,80 w: 41,30 cm Provenance : Collection Thomas Hudson, son cachet (L.2432) en bas à gauche ; Collection William Mayor, son cachet (L.2799) en bas à gauche ; Collection Ian Woodner ; Sa vente, Londres, Christie's, 2 juillet 1991 ; Acquis lors de cette vente par les actuels propriétaires
Artcurial
Jul. 05, 2013
BIAGIO PUPINI
Est: £8,000 - £12,000
ACTIVE BOLOGNA CIRCA 1511 - 1575 THE CORONATION OF THE VIRGIN WITH ST. JOHN THE BAPTIST AND ATTENDING ANGELS, GOD THE FATHER ABOVE Pen and brown ink, heightened with white 203 by 130 mm
Sotheby's
Apr. 11, 2013
Biagio dalle Lame Pupini, 1511 - 1575, zug./ Art des
Est: €10,000 - €14,000
Biagio dalle Lame Pupini, 1511 - 1575, zug./ Art des DIE HEILIGE FAMILIE MIT DEM JOHANNESKNABEN Öl auf Holz. Verso Parkettierleisten. 57 x 42 cm. Der Maler hat die Figurengruppe im Aufbau weitgehend geometrisch komponiert, so sind die Häupter von Maria und Josef im oberen Bildteil nahezu parallel wiedergegeben, ebenso der Johannesknabe links mit dem rechts sitzenden Jesuskind, das auf einem Kissen sitzt und die rechte Hand zum Segensgestus erhoben hält. In ikonografisch seltener Weise hat das Jesuskind den Kreuzstab vom Johannesknaben bereits übernommen und hält ihn in der linken Hand, mit dem entsprechenden Rotulus mit Aufschrift "Ecce agnus dei". Im Hintergrund rechts oben rund angeschnittene Rundsäule auf rundem Sockel. Die Figuren von grünem Velum hinterfangen. Die Nimbenscheiben in Blattgold aufgelegt und fein ornamentiert. (892291) Biagio dalle Lame Pupini, 1511 - 1575, attributed/ in the style of The Holy Family with the Infant St. John the Baptist Oil on panel. Parqueted. 57 x 42cm.
Hampel Fine Art Auctions
Jan. 30, 2013
Biagio dalle Lame, called Biagio Pupini (Bologna, active 1511-1551)
Est: $40,000 - $60,000
Biagio dalle Lame, called Biagio Pupini (Bologna, active 1511-1551) The Mystic Marriage of Saint Catherine oil on panel 30 1/8 x 24¾ in. (76.5 x 62.9 cm.)
Christie's
Sep. 17, 2012
PUPINI, BIAGIO (ZUGESCHRIEBEN)(Bologna um 1575
Est: CHF3,000 - CHF4,000
PUPINI, BIAGIO (ZUGESCHRIEBEN) (Bologna um 1575 tätig) Madonna mit Kind. Öl auf Holz. 75 x 61 cm.
Koller Auctions
Dec. 15, 2010
ENTOURAGE DE BIAGIO PUPINI (1511-1575) Scène de bataille Lavis (accidents, restaurations). H_36,5 cm L_32 cm
Est: €3,000 - €3,500
ENTOURAGE DE BIAGIO PUPINI (1511-1575) Scène de bataille Lavis (accidents, restaurations). H_36,5 cm L_32 cm
Pierre Bergé & Associés
Jul. 06, 2010
BIAGIO PUPINI
Est: £8,000 - £12,000
BIAGIO PUPINI ACTIVE BOLOGNA CIRCA 1511 - 1575 MINERVA Drawn with the point of the brush in brown wash, heightened with white, on paper washed red; made up at the top 184 by 111 mm
Sotheby's
Jul. 10, 2008
Attributed to Biagio Pupini , active Bologna circa 1511 - 1575 the mystic marriage of St. Catherine oil on canvas, laid on panel, unframed
Est: £15,000 - £20,000
oil on canvas, laid on panel, unframed
Sotheby's
Mar. 23, 2006
Biagio Pupini dalle Lame (circa 1511-1575)
Est: €4,000 - €6,000
La Présentation du Christ au Temple avec inscription illisible et '127' craie noire, lavis brun, rehaussé de blanc (partiellement oxydé), sur papier brun clair 252 x 179 mm.
Christie's
Jan. 25, 2006
* BIAGIO PUPINI ACTIVE BOLOGNA CIRCA 1511 - 1575
Est: $6,000 - $8,000
THE BIRTH OF THE VIRGIN measurements note 262 by 202mm; 10 5/16 by 8in oil on vellum NOTE The composition of this scene is derived, with some differences, from a drawing by Gian Francesco Penni in the Cabinet des Estampes, Brussels, which was later engraved by Cornelis Cort (see J.C.J. Bierens de Haan, L'Oeuvre Gravé de Cornelis Cort, The Hague 1948, p. 45, cat. no. 20, plate 6, as F. Zuccaro). Another autograph version by Pupini, in black chalk and brown wash on blue paper, was sold New York, Sotheby's, 19 January 1989, lot 244. The artist also returned to the subject on several other occasions, but using a different design, in drawings in Florence, Biblioteca Marucelliana (see Disegni e Incisioni della Raccolta Marucelliana, Florence 1983/1984, no. 155) and Paris, Louvre, Cabinet des Dessins (inv. no. 8840).
Sotheby's
Jan. 25, 2006
* BIAGIO PUPINI ACTIVE BOLOGNA CIRCA 1511 - 1575
Est: $12,000 - $18,000
THE SCOURGING OF A MALE SAINT measurements note 247 by 196mm; 9 3/4 by 7 11/16 in bears old attribution in pen and black ink: F. Parmagiano and numbering: 8 pen and brown ink and wash heightened with white; arched top PROVENANCE Crozat? (bears numbering, 8, similar to his); William Bates (L.2604); sale, London, Sotheby's, 9 July 1981, lot 3; sale, London, Christie's, 19 April 1994, lot 9; with Adolphe Stein, Paris; Private collection, Belgium EXHIBITED Rotterdam, Kunsthal, European Master Drawings Unveiled, 2002, no. 78, reproduced NOTE The style of this very attractive study by Pupini is reminiscent of Parmigianino, to whom it was traditionally attributed. Parmigianino was in Bologna circa 1527-30 and was extremely influential in the formation of the younger generation of Emilian artists. A certain similarity in the composition and use of space can be seen with a panel representing the Marriage of the Virgin, which was attributed to Pupini by Philip Pouncey (now in Palazzo Pitti; see Vera Fortunati Pietrantonio, Pittura Bolognese, Bologna 1986, vol. I, reproduced p. 202). Because of its debt to Parmigianino, the painting must be datable to the mid 1530s.
Sotheby's