The ACHILLITO CHIESA & COLLECTION ° + Part I ITALIAN PRIMITIVES AND | - RENAISSANCE PAINTINGS _ AMERICAN ART ASSOCIATION : INC. New York Cle : % : ashe i ha vere ; : + cota eth SIG Ae \ eee Te. ne os § ane tine a } 5 oa i i yy eer reese 4 Peg Re > ~ ) EXHIBITION & UNRESTRICTED PUBLIC SALE AT THE AMERICAN ART GALLERIES MADISON AVENUE ° 561TH ¢o 57TH STREET NEW YORK HE Achillito Chiesa Collection , Part II _ Paintings , Catalogue Numbers 1-59 Will Be Sold on Friday Evening, April Poero2o,-at 5:20 20) Glock time t (707 The Collection Will Be On Free Public View from Sunday, April 11, Until Time of Sale » Weekdays 9g a.m. to 6 p.m. Sunday from 2 to 5 p.m. Sales Conducted By Mr. O. Bernet and Mr. H. H. Parke AMERICAN ART ASSOCIATION - INC. Managers CONDITIONS OF SALE I. REJECTION OF BIDS: Any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance, may be rejected by the auctioneer if in his judgment such bid would be likely to affect the sale injuriously, II. THE BUYER: The highest bidder shall be the buyer, and if any dispute arises between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. III. IDENTIFICATION AND DEPOSIT BY BUYER: The name of the buyer of each lot shall be given immediately on the sale thereof, and when so required, each buyer shall sign a card giving the lot number, amount for which sold, and his or her name and address. A deposit at the actual time of the sale shall be made of all or such part of the purchase prices as may be required. If the two foregoing conditions are not complied with, the lot or lots so pur- chased may at the option of the auctioneer be put up again and re-sold. IV. RISK AFTER PURCHASE: ‘Title passes upon the fall of the auctioneer’s hammer, and thereafter the property is at the purchaser’s risk, and neither the consignor nor the Association is responsible for the loss of, or any damage to any article by theft, fire, breakage, however occasioned, or any other cause whatsoever. V. DELIVERY OF PURCHASES: Delivery of any purchases will be made only upon payment of the total amount due for all purchases at the sale. VI. RECEIPTED BILLS: Goods will only be delivered on presentation of a re- ceipted bill. A receipted bill presented by any person will be recognized and honored as an order by the buyer, directing the delivery to the bearer of the goods described thereon. If a receipted bill is lost before delivery of the property has been taken, the buyer should immediately notify the Association of such loss. VII. STORAGE IN DEFAULT OF PROMPT PAYMENT AND CALL- ING FOR GOODSs: Articles not paid for in full and not called for by the purchaser or agent by noon of the day following that of the sale may be turned over by the Asso- ciation to some carter to be carried to and stored in some warehouse until the time of the delivery therefrom to the purchaser, and the cost of such cartage and storage and any other charges will be charged against the purchaser and the risk of loss or damage occasioned by such removal or storage will be upon the purchaser. In any instance where the purchase bill has not been paid in full by noon of the day following that of the sale, the Association and the auctioneer reserve the right, any other stipulation in these conditions of sale notwithstanding, in respect to any or all lots included in the purchase bill, at its or his option, either to cancel the sale thereof or to re-sell the same at public or private sale without further notice for the account of the buyer and to hold the buyer responsible for any deficiency and all losses and expenses sustained in so doing. VIII. SHIPPING: Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, but the Association will, however, afford to purchasers every facility for employment at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. IX. GUARANTY: The Association exercises great care to catalogue every lot correctly and endeavors therein and also at the actual time of sale to point out any error, defect or imperfection, but guaranty is not made either by the owner or the Association of the correctness of the description, genuineness, authenticity or condition of any lot and no sale will be set aside on account of any incorrectness, error of cata- loguing or imperfection not noted or pointed out. Every lot is sold “as is’ and with- out recourse. Every lot is on public exhibition one or more days prior to its sale, and the Association will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued and in its judgment may there- after sell the lot as catalogued or make mention of the opinion of such expert, who thereby will become responsible for such damage as might result were his opinion without foundation. X. RECORDS: The records of the auctioneer and the Association are in all cases to be considered final and the highest bid shall in all cases be accepted by both buyer and seller as the value against which all claims for losses or damage shall lie. XI. BUYING ON ORDER: Buying or bidding by the Association for responsible parties on orders transmitted to it by mail, telegraph, or telephone, if conditions per- mit, will be faithfully attended to without charge or commission. Any purchases so made will be subject to the foregoing conditions of sale, except that, in the event of a purchase of a lot or one or more books by or for a purchaser who has not through himself or his agent been present at the exhibition or sale, the Association will permit such lot to be returned within ten days from the date of sale, and the purchase money will be refunded, if the lot differs from its catalogue description. Orders for execution by the Association should be given with such clearness as to leave no room for misunderstanding. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot, and when the lot consists of one or more volumes of books or objects of art, the bid per volume or piece should also be stated. If the one transmitting the order is unknown to the Association, a deposit must be sent or reference submitted. Shipping directions should also be given. PRICED CATALOGUES: Priced copies of the catalogue, or any session thereof, will be furnished by the Association at charges commensurate with the duties involved in copying the necessary information from the records of the Association. These conditions of sale cannot be altered except by the auctioneer or by an officer of the Association. AMERICAN ART ASSOCIATION, Inc. MANAGERS OTTO BERNET HIRAM H. PARKE AUCTIONEERS NTRODUCTION I , =" “4 eo le ee als4 al 7 4 > lie y < A FOREWORD T is unnecessary to repeat the history of the Chiesa Collection in detail, representing the combined efforts of the father and son over a period of many years. Achille Chiesa, the father, intended that the objects forming the collection should be given to the city of Milan as a permanent exhibit, and he had selected as a museum to hold the collection, the Palazzo Sola Serbelloni, called Casa Busca, one of the famous palaces in Milan and where Napoleon resided during his frequent visits to that city. After the death of his father, Achillito, the son, intended to continue what his father had begun, but on account of serious financial com- plications, due to the division of the large Chiesa Estate among several heirs, it was found impossible to carry out the original intention. It became necessary to liquidate debts that had been incurred in forming the collection. A syndicate was formed and incorporated under the name of 47s, in accordance with the Italian law. It is this syndicate that has placed in the hands of the Ameri- can Art Association for unrestricted public sale in this country, the entire Chiesa collection. Part II, paintings, comprises a group of about fifty examples of the primitive Tuscan School and of the masters of the Renaissance, each one worthy of the most careful attention. Many of these paintings are included in the catalogue of the Superior Commission of Fine Arts of the Italian Government as “historic objects of interest and artistic value” and as such they have been removed from Italy only with the greatest difficulty and after prolonged negotiations. Among the primitives especial mention must be made of the mag- nificent pala, St. John the Baptist, by Orcagna, formerly belonging to the private collection of Fairfax Murray, and considered one of the most beautiful works of the Master as well as one of the most remarkable works of the Florentine trecento; it is truly amazing in its force, its color and its preservation; also the polyptych of Bernardo Daddi, better known as the pala of the Rucellai, having come from a chapel belonging to the Rucellai family in the church of San Pancrazio in Florence, and the large panel given to Agnolo Gaddi. And too, of particular importance are the triptych of Pietro Lorenzetti, a brilliant example of Sienese art, also inventoried by the Superior Commission, an interesting triptych by the “Master of St. Cecilia,” and an attractive marriage plateau of the Florentine quattrocento, painted on both obverse and reverse. Passing to other schools and periods, there may be noted the Portrait of a Sicilian Patrician in Ecclesiastical Costume by Antonello da Messina. This important painting, which has been distinguished by mention in articles from the pens of the foremost art critics, is a recent “find” and an addition to the few rare works of this great Master. The central portion of the pala, of which this is one of the wings, portrays the Madonna and Child, and is in the Vienna Museum. The collection of Fairfax Murray included a wealth of important works, a number of which, after the death of the owner, were acquired by Signor Chiesa, and which served greatly to enhance the value and interest of his collection. Among those from this group are two marvelous cassone panels depicting the story of Perseus, given to Filippino Lippi; the tondo of Fra Bartolomeo and a beautiful example of Solario. The beautiful Crespi Madonna is attributed to Michelangelo, and has always been considered one of the important works of the Master. The Mater Amabilis of Correggio, the Holy Family and a superb Portrait of the Poet Meldolla, by Lotto (in the inventory of the Italian Government), a Palma Vecchio and a notable example by Vivarini are also among the Italian masterpieces. The foreign schools are represented by The Holy Family in a Land- scape by Van Der Weyden, and a Pieta by an Avignon master of the fifteenth century, of rare strength and feeling, and a valuable con- tribution to a collection of paintings which can only be described as one of the highest artistic and historic interest. AMERICAN ArT AssociaTion, INc. Catalogue edited by Mr. Ercole Canessa, who has had an intimate ac- quaintance with the Chiesa Collection over a period of many years. CATALOGUE FLORENTINE SCHOOL XV CENTURY I. MADONNA AND CHILD WITH SAINTS The enthroned Madonna, hooded and robed in crimson and blue, with the fully clothed Child upon her lap. On the left is St. John the Baptist, and to the right St. Anthony. Panel: Height, 14% inches; width, 9 inches. ANDREA PREVITALI Worked between 1502 and 1525, first emulating the style of Giovanni Bellini, and afterwards that of Lotto. 2. A HOLY BISHOP (SAINT AUGUSTINE?) Seated, in an attitude of benediction, between Saint Mark and Saint Anthony; the three figures seen at half-length. This is a very fine example of the master’s work, being of his advanced period, and revealing the ecstatic emotions produced by the paintings of Giambellino supplemented by an animation inspired by Lorenzo Lotto. The picture is in a good state of preservation. Canvas: Height, 13% inches; length, 15 inches. MICHELE MARIESCHI VENETIAN: 1696—1743 3. LANDSCAPE Fantastic view. In the middle distance a domed arcaded temple, having on the left prominent hills, and a facade of architectural dis- tinction; to the right, a river running from a mountainous source which is enveloped in a filmy haze. In the foreground are various small figures, those standing by the fallen tree gorgeously robed, the others in native costume; while an equestrian figure is seen approach- ing the river. A delightful work of charming atmosphere and per- spective. Height, 29 inches; length, 38 inches. MICHELE MARIESCHI VENETIAN: 1696—1743 4. LANDSCAPE Fantastic view. ‘To the right is a ruined Romanesque-Renaissance structure having fine Corinthian pillars and capitals, which are over- grown with ivy; in the middle distance, the river flowing under a somewhat dilapidated bridge; on the near bank are various small figures of armored warriors; on the far bank, undulating landscape; a partly ruined arc, and on the summit of the hill a fortified chateau. An imaginative work portrayed in brilliant colors. Height, 29 inches; width, 38 inches. ‘MARCO D’OGGIONO Born at Oggtono about 1470, a follower of Leonardo da Vinct. Died at Milan about 1549. 5. ST. STEPHEN AND ST. BONAVENTURA (Two Panels) St. Stephen stands, in the garb of a deacon, praying, with the stones of his martyrdom on his head and shoulder. The background is a rocky landscape. St. Bonaventura is also standing, turned a little to the left, reading a book which he holds in his left hand; he wears his mitre, the habit of a Franciscan under his chasuble, and carries a crosier. At his feet is a cardinal’s hat. The two saints face one another. ‘The panels are evidently parts of a triptych, the middle portion of which is missing. Height, 58 inches; width, 28 inches. La Galleria Conte Bassi, 7-9 November, 1898. See: B. Berenson, “North Italian Painters of the Renatssance,” page 275; 4.Venturi, “La Galleria Crespi di Milano,” Hoepli, 1900, é UN er oe, Cars , (be (qar-G FLORENTINE SCHOOL First HALF XV CENTURY 6. MADONNA AND CHILD Half-length figure of the Virgin Mother, holding the almost nude Infant in her arms. The background depicts a primitive landscape. In a fine state of preservation. Panel: Height, 20 inches; width, 15 inches. (Illustrated) No. 6. MADONNA AND CHILD FLORENTINE SCHOOL ENTHRONED MADONNA VENETIAN SCHOOL 7 . No VENETIAN SCHOOL XV-XVI CENTURY 7, ENTHRONED MADONNA Robed in a green-blue mantle. Seated on her lap is the fully draped divine Infant holding an apple, and naively surveying the bird perched upon His Mother’s hand. Signed, Marcus Pinxit. In a beautifully carved tabernacolo frame of the period. Panel: Height, 37% inches; width, 20% inches. ara, BERNARDO DA PARENZO (CALLED PARENTINO) uae 4 3 1637s SU ahora ce. 4% yoo. Caurssea, 8 HISTORICAL SUBJECT The incident represents a woman before a judge. are numerous equestrians, the figures portrayed istic energy of this master. A distant vista of adds effectively to this excellent small work. oa eight, I 5i ~ « ° t } a ee PAA aur rn) ae . % ee re Py ae coe) oe ine ae ee oe HISTORICAL SUBJECT By BERNARDO DA PARENZO 8 No (Called PARENTINO) No. 9. MADONNA AND CHILD WITH SAINTS By GIOVANNI DAL PONTE GIOVANNI DAL PONTE Florentine: Active in the first half of the XV th Cen- tury. He was influenced by Masaccio (plastic qual- ity) and by Lorenzo Monaco (Gothicism). Phy 9. MADONNA AND CHILD WITH SAINTS LM. 8,40. The ethereal Madonna enthroned, hooded and robed in a crimson tunic with a deep blue mantle, supporting the semi-draped Child Who plays with a bird; on the left is St. Bartolomeo in a crimson tunic with an ivory mantle and St. Francesco in the habit of his Order. Panel: Height, 26 inches; width, 13% inches. se C - isn ye ba Note >A a a ee ot, in PAA. S ' Ads Bitte Lx peedihe CUliras ) Tne P CAPRAL wo. 126. OG Mm KIA ws Vs - t i! é, Pi * th» i : s on a ee g fy} Pe a i. v Na Coes, WO 120. Ww ee rag — ; 10} “ ie ¢ oa a bie \ Yep Cn oe vi Ql fe wi Dedate, Man Ig + peak dentick bry wi odiffnimdn franne runlle « Corban: | bhid, » ‘BARTOLOMEO VIVARINI Born at Murano, 1430. Brother of Antonio and Al- vise Vivarinit, who were also painters, but of a very different temperament. Bartolomeo belongs to the great company of followers of Squarctone of Padua. Many of his paintings are dated (second half of the fifteenth century). Died 1499. 10. PIETA Christ is seen emerging from the tomb, bearing the signs of the Passion. In the background the cross is seen, and at the sides, two angels appear in the clouds, kneeling in prayer. The painting might have formed the base of a picture, but its dimensions permit its being considered an independent work. In an excellent state of preserva- tion. Panel: Height, 19 inches; length, 29 inches. The Collection of Count Albani, Bergamo. See: A, Venturi, “La Galleria Crespi di Milano,” page 55, etc.; Lionello Venturi, “Le Origini della Pittura Veneziana,” page 182, etc. : No. 10. PIETA By BARTOLOMEO VIVARINI 11. THE CRUCIFIXION By SIMONE DA BOLOGNA No. « SIMONE DA BOLOGNA Bologna, XIV Century It, THE CRUCIFIXION Vigorous rendering of this subject. Our Lord is seen crucified be- tween the two thieves, with the symbolic pelican above; mounted, and other figures are seen on either side, with St. John supporting the distressed Mother. Very interesting frame, having cruciform pinnacles with representation of Christ and two saints. Panel: Height, 24 inches; width, 13% inches. >. & ra - - ’ ra PIETRO LORENZETTI - | 5; boo. cde Cowasas SIENESE: ACTIVE 1306—1348 12. THE CRUCIFIXION Grouped about, with this master’s ends the three Marys, and St. John to ie right. i 4 wir _ ihe Panel: Height, 4 Vike oo he A ee Oe THE CRUCIFIXION By PIETRO LORENZETTI No. 12. No. 13. TRIPTYCH: VIRGIN AND CHILD By LORENZO DA SAN SEVERINO LORENZO DA SAN SEVERINO ABOUT 1374—1420 With his brother Jacopo of the Salimbent, Lorenzo was the principal exponent of art in the Marche for a generation preceding Gentile da Fabriano. 13. TRIPTYCH: VIRGIN AND CHILD In the central panel is depicted the Virgin Mother enthroned with the Infant Christ; an angel kneels at her feet offering gifts. In the left panel a saintly mitred Bishop stands, slightly turned towards the Virgin. In the right panel Saint Christopher is represented bearing the Child Christ upon his shoulder and crossing the turbid stream. Height, 29 inches; length, 46% inches. Note: The principal reference work for the art of Lorenzo is his signed triptych in the Gallery of San Severino, compared with which this picture of the Chiesa Collection presents the same decorative style (which fundamentally characterizes the so-called international art of the beginning of the fifteenth century) although in a rather less accentuated form. One cannot say definitely whether this is the result of a diminished enthusiasm on the part of the master himself during a certain period, or the effect of his collaboration to a marked degree with his brother Jacopo. BARTOLOMEO CAPORALI Perugia, active 1472—1499. 14. MADONNA AND CHILD Interesting human conception of the Virgin Mother, in fluctuating blue and crimson robes, with the nude Child Christ standing on her lap with His arms about her. Panel: Height, 23 inches; width, 18 inches. No. 14. MADONNA AND CHILD By BARTOLOMEO CAPORALI No. 15. MADONNA AND CHILD By PRIAMO DELLA QUERCIA PRIAMO DELLA QUERCIA SIENESE: XV CENTURY 15. MADONNA AND CHILD The Virgin Mother, hooded and richly robed in crimson and blue, with the Child Christ, toward whom She is pointing with her first two fingers. In a fine state of preservation. Panel: Height, 19 inches; width, 15% inches. Note: A very characteristic work of the master. SQUARCIONE (ATTRIBUTED TO) XV CENTURY 16. CHRIST BEFORE CAIAPHAS Caiaphas is depicted bearded and enthroned, robed in a pale crim- son mantle. The dignified figure of the Redeemer, robed in white with a green mantle, stands before him, flanked by and having behind him Roman soldiers, some galeated, others with spears and various regalia; St. Peter stands, incredulous, to the left. Gold background. Panel: Height, 15% inches; width, 13 inches. Note: The attribution is of an early date and was given before the picture left the collection of Signor Noseda of Milan. haven Sele | [ereotins ! Milas, b~&. Feb, aes: [s2), a Seprancernt 2 No. 16. CHRIST BEFORE CATAPHAS Attributed to SQUARCIONE No. 17. THE CORONATION OF THE VIRGIN By BARNABA DA MODENA * BARNABA DA MODENA A rare master, contemporary of Tommaso da Mo- dena. He was known to have been working on the frescoes of Saint Ranieri in the Campo Santo in 1380. 17. THE CORONATION OF THE VIRGIN Before a background of superb lapis-lazuli blue, the holy Mother is enthroned, robed in a crimson tunic with a flowing mantle of gold. She is facing to the right with her arms folded in an attitude of supreme devotion, as the Redeemer places the crown upon her head. On either side are seraphim and cherubim, and others of the celestial hierarchy. Signed, Barnabas da Mutina Pinxit. Height, 34 inches; width, 22 inches. 4} * y + \ Re A Gen ttre, K.-W. thed Cou Raritaduoy vorutt ; y \ Neo = ? } L sa 3 fr r A) f ¥ Py at »* C. AF barre ) yey é Fol, me oe h PAL bh ’ Sr A 4 SCAAS ' 5 = U | wit fi bot ee bLieend E ‘ : . i. a AAVS s 6 whed Bam 5S % ry) Vy ‘ } : Day meh : ican A dA. Pug SARA yh oe o K 3 ' X ¥ FLORENTINE SCHOOL XIV CENTURY 18. MADONNA AND CHILD Full-length seated figure of the Virgin Mother with the draped Infant, reaching towards the bird perched on His Mother’s arm. Above are a graceful seraphim and a cherubim supporting the crown. Panel: Height, 25% inches; width, 13% inches. No. 18. MADONNA AND CHILD FLORENTINE SCHOOL No. 19. VOTIVE PANEL By ANTONIO AQUILIO “ANTONIO AQUILIO (Called ANTONIAZZO ROMANO) 1460(?)—1512 19. VOTIVE PANEL The seated figure of our Lord, sparsely draped in an aubergine mantle, is appearing from the clouds; at the left stands the Virgin Mother, to the right an angel presents the donor, in rich,costume, who is kneeling, and by his side, with her hand upon his shoulder, is St. Catherine. Panel: Height, 21 inches; width, 17 inches. CORREGGIO (ANTONIO ALLEGRI) Born 1494; died 1534. He received his first artistic training at the hands of Bianchi-Ferrart of Ferrara, and quickly became one of the greatest of painters, a master of the art of light and shade and of foreshorten- ing. He possessed characteristics in common with Raphael, and, more particularly, with Lorenzo Lotto. 20. MATER AMABILIS The Madonna is seated on the ground at the foot of a hillock, crowned with trees, gazing lovingly at the Child on her lap. The Child has a flower in His right hand, and with the other He grasps His Mother’s cloak, as if in fear. A hilly landscape forms the back- ground. The picture reveals in its subject, quality of light, and in the types of the figures the unmistakable handiwork of Correggio, very probably of the middle period of his life (about 1520) ; and critics are unanimous in declaring it to be the work of the great master. Contemporary frame. Panel: Height, 12 inches; width, 8 inches. The Collection of the painter, Francesco Montt, called the Bres- cianino (Brescia, 1646; Parma, 1712). The Collection of the Counts Bertiolt of Parma (purchased by them 1738). The Borromeo Monti Gallery, 1830. The Fabrizi Collection, Rome. An old etching of this painting exists by Maurizio De Magistris of Piacenza captioned “Mater Amabilis.” See: Gronau, “Klassiker der Kunst,’ 1907, pages 26, 160, 169; J. Meyer, “Correggio,’ Leipzig, 1871, pages 404 and 495; J. Meyer, “Allegemeines Kunstler Lexicon,” Leipzig, 1872, pages 375 and 451; U. Thieme, “Allegemeines Lexicon,” page 464. No. 20. MATER AMABILIS By CORREGGIO No. 21. MADONNA AND CHILD By BERNARDINO FUNGAI ‘ BERNARDINO FUNGAIT Sienese, 1460-1516. Fungat 1s one of the Stenese painters at the end of the fifteenth century who in his works unites delicate coloring and distinction with tender sentiment. 21. MADONNA AND CHILD Before a gold background enriched by superb bulino work, the holy Mother is portrayed with charming simplicity and fine intona- tion of color, in rose-crimson tunic and dark green-blue mantle with hood, under which she wears a white veil. The Infant is supported in her arms in the attitude of benediction. Panel: Height, 241% inches; width, 17% inches. a load ~ P A i] Paine. & ea oi al f Li Aaa I ¥* a Ps. M ASS B fa ON SERA ast “f2tit, a, ae AALS B ie AOKey Cif Neder ie F , ws { : - CRISTOFORO DA FERRARA XIV CENTURY Julivr Kaas OU 4 MADONNA AND CHILD WITH SAINTS ever | The Virgin Mother is seated upon a cushion with the Child in her en eee arms, voluminously draped in a deep green and gold-embroidered NG Abd ectury mantle, which also forms a covering for the Child. Below are Saints | Antonio, John, Francis and Egidio. Gold background. Height, 1614 inches; width, 9% inches. Note: This rare and very interesting panel is described by the historian Baruffaldi in his Vita de Pittori e Scultori Ferrarese, Ferrara, 1846, Vol. II, p. sft. = uy OA © , Qs vA tavellfa Sua CYA DAD A ove Lo Madonna a a ‘ ’ (yi ° Usaw hy ioe Se herr do UMA OM 2, Sopra pt oe ade | Vane bias rds v\ 4 : ‘ pal | < : knkenio di Yateva nis Ad Weta nang colle Gslé Copia dt UAL allnc Cots od dele , vere We pas Coals milla dtalka (od WW. Kir, nite Susha. 4 e ra) .* Sek ps OWS {, of wt t CAppuccee (pastas ths - oe . s arn 3 2g i ‘ Car og b S$ | ve si Wee, Solls S. creas, rome Che Wha (UM nae TV BAted ' a oe i ‘i Lar a8 y * Boj dio a yuh cri‘ Peani Pore bavast waa wilh porvecb ate Cor chitsa : “Seas: i : ge mH PLE a (ussld canis Om agpumle dot Guanine St qumenna Zee bal a p33. Atl Suro Compund, (Shee whe, “ ee ye ee Pe ee ee hh ee ee ee soereorporr a me (Al jong 2, Cats rai ad ee No. 22, MADONNA AND CHILD WITH SAINTS A FERRARA By CRISTOFORO D MAGDALENE AIN TeMARY. S By PIETRO LORENZETTI ers Oo N ‘ PIETRO LORENZETTI SIENESE: 1306—1348 23. SAINT MARY MAGDALENE The figure is seen kneeling at the mouth of the cave, her body coy- ered by her long flowing gold hair; to the left a seraphim is appearing, to bestow communion. Panel: Height, 27 inches; width, 18% inches. SCHOOL OF GIOTTO (PRoBABLY GUARIENTO) PADUAN: ACTIVE XIV CENTURY 24. MADONNA AND CHILD WITH ANGELS Half-length figure of the holy Mother, robed in a pale crimson tunic and green-blue mantle which is folded around the figure and dis- plays an ivory lining; on her left arm she holds the divine Infant, naively clutching the mantle at His Mother’s neck. At either side, in arched formation, is a choir of angels composed of seraphim and cherubim, supporting the crimson canopy with devout mien. The nimbi are delicately wrought in bulino work. Panel: Height, 28% inches; width, 24 inches. ++ +4 Sale S Mon FR yy (3 No. 24. MADONNA AND CHILD WITH ANGELS ScHOOL oF GIOTTO (Probably GUARIENTO) AT Bee Ser Spree pe he pest bn d2 28S No225. 0 RIPY GH UMBRIAN SCHOOL ahh. UMBRIAN SCHOOL FOLLOWER OF PINTURICCHIO First HatrF XVI CENTURY H toe 25. TRIPTYCH The tondo portrays the figure of Justice in a green and blue mantle; at either side are panels depicting sparsely draped putti bearing the symbols. Diameter of tondo, 9 inches. Panels: Height, 11 inches; width, § inches. ‘LORENZO DI NICCOLO DI PIETRO GERINI FLORENTINE: XIV-XV CENTURY 26. MADONNA AND CHILD WITH ANGELS The seated Madonna robed in the traditional colors of crimson and blue, with the Infant Christ seated upon her lap, fully draped and holding a bird with outspread wings. Devout figures of angels appear at either side. The orange covering on the Child and the nimbi are enriched by exquisite bulino work. In a wonderful state of preservation. Panel: Height, 36 inches; width, 20 inches. No. 26. MADONNA AND CHILD WITH ANGELS By LORENZO DI NICCOLO DI PIETRO GERINI No. 27. DEPARTURE OF THREE WARRIORS FLORENTINE SCHOOL (In the Manner of Masaccio) FLORENTINE SCHOOL IN THE MANNER OF MASACCIO 1401I—1428 27. DEPARTURE OF THREE WARRIORS On the left is depicted the departure of three mounted warriors, two of which are young, the third older and bearded; on the right they are seen standing before an altar seeking to obtain an omen as to the fortunes of the forthcoming battle. The light in the picture is very strong; the luminosity, as well as the types and the sculptural effect obtained by means of the chiaroscuro, suggests the style of a pupil or collaborator of Masaccio. The decorations and costumes in vogue in Florence about the middle of the fifteenth century are beautifully portrayed. Height, 17% inches; length, 3334 inches. Note: This panel, with the three that follow, must have decorated the front of a cassone or some other large and rich piece of furniture. (Companion to the following) FLORENTINE SCHOOL IN THE MANNER OF MASACCIO 1401—1428 28. A TRIUMPH The bearded hero is seated in a chariot drawn by two prancing gray steeds; he holds a sword and a book. Armed horsemen surround and follow him; war spoils and a group of oxen precede him. The background depicts a landscape of grayish hills. Height, 174% inches; length, 3234 inches. (Companion to the preceding) (o1svsvJy fo 4auunpy ay] uy) TOOHOS ANILNAYXOTA HdWOIUL V “8% ON (o19vsvyy fo sauuvpy ay? uy) TOOHDIS ANILNAAXOTA Hd WNIUL V “6% ON FLORENTINE SCHOOL IN THE MANNER OF MASACCIO 140I1—1428 29. A TRIUMPH The young hero is seated in a chariot, holding the orb and sceptre. The chariot is drawn by two gray steeds, is surrounded and fol- lowed by armed horsemen and is preceded by prisoners and cattle. The background depicts a landscape of grayish hills. Height, 17% inches; length, 3334 inches. See note on No. 27. een No. 31. MADONNA AND CHILD By BARTOLOMEO VIVARINI BARTOLOMEO VIVARINI MURANO: 1430—1499 31. MADONNA AND CHILD Half-length figure of the Virgin Mother, with the seated Child on her lap holding a bird. A pleasing and interesting work; the face of the Mother is especially charming. In a modern tabernacolo. Panel: Height, 29 inches; width, 18 inches. SCHOOL OF AVIGNON XV CENTURY 32. THE MOURNING FOR CHRIST An intensive and interesting composition in which the figure of the Saviour lies emaciated and inert upon a marble sarcophagus. Be- hind are grouped, with great forethought and reverence, the holy Mother, the two Marys, St. John to the left, and the aged Joseph of Arimathea; to the right, in the background, is the head of Nicodemus, or maybe that of the donor; on the extreme left a distant vista of the hill of Golgotha. The Madonna as the central and predominant figure of the composition is robed in a blue-black mantle, and wears an opaque-white hood that detracts from the flesh of our Lord, which in comparison appears limpid and ashy; Saint John in a cloak of vivid and beautiful red; Joseph of Arimathea wears an ample garb of brocade and fur. A very important and rare work. Oak panel (rounded at the two upper corners) : Height, 19 inches; length, 27% inches. The Collection of Rudolph Kahn. St Se AY / } Ef Fu - } s ? R - he IQo2. toro (7. Lh we ont Sale . 1902 ( Lina 2, 454) / a“ AZ Luce VOUA Leyden. No. 32. THE MOURNING FOR CHRIST SCHOOL OF AVIGNON ~~ ere ee No. 33.5 MADONNA AND CHILD Attributed to MASOLINO DA PANICALE ote Aaa: x ce Tees 4 > & se $124 sf wane ee Sole i? &Y &E { i ele E ‘CIE LE » 4‘ ie Cave eee: SRE ELE DT i | ¥ ey ~ Ud vied y 4 tt & r 4\ io4i ee e+. 4) & A , soeey tei 4a toia MASOLINO DA PANICALE (ATTRIBUTED TO) 1383—1440 33. MADONNA AND CHILD The holy Mother is shown at half-length, facing slightly to the right, with an expression of great beauty, wearing a gracefully draped hood and mantle; in her arms is the Child Christ fully draped in a crimson robe, girdled at the waist and holding a bird. His expression of supreme joy naively portrayed. The nimbi are exquisitely wrought in bulino work. Panel: Height, 27 inches; width, 23 inches. Note: This work, by a master of the first half of the XV Century, possesses much of the great sentiment and refinement expressed by Masolino in his works, especially revealed by the modeling of the Madonna and the formation of her right hand. Compare the Madonna in the Bremen Museum. VO ‘ S'S x ‘yp ox .CondstiK Kaw ' (fat 38) > <> 7 (Ax . SB -j ‘ a Lf JBERNARDINO DEI CONTI Born at Pavia, end of the XV Century. A follower of Foppa and Civerchio and an imitator of Leonardo da Vinci. Distinguished as a painter of portraits, of which some ten have survived. Died the beginning of the XVI Century. 34. PORTRAIT OF A MAN In an interior is portrayed a young man, half-length, richly dressed, his head turned to the right. He holds in his right hand an open letter and a lute in his left. He looks towards a window, on the sill of which is an inkstand and a leather case. On the wall of the room, in the left-hand top corner, is written: “Si comel vitio—sol vita dispe—ra,’ and under the window: “Sol virtu dom—na morte orr—ida e acerba.” A third inscription, in the bottom right-hand corner, is evidently more of less modern, but probably replaces the original one, which should be as follows: “Bernardinus—de Lu- vinus—Pinxit—1497.” On the supposition that this inscription comes from the original (perhaps the same, with the exception of Comuitis instead of Luvinus), the date could be fixed for the picture; in fact the other portraits by this painter bear dates close to this one. Panel: Height, 28 inches; width, 22 inches. See: A. Venturi, “La Galleria Crespi in Milano,’ Milan, Hoepli, 1900, pages 255-257; G. Morell1, “Della Pittura Italiana,” etc., page 194; G. Frizzont, “Archivio Storico dell’Arte”’ (1897), page 96; B. Berenson, “North Italian Painters of the Renais- sance,” page 198; J. A. Crowe and G. B. Cavalcaselle, “A His- tory of Painting in North Italy,’ vol. 2, page 395; U. Thieme, “Allegemeines Lexicon,” vol. VII, page 232. No. 34. PORTRAIT OF A MAN By BERNARDINO DEI CONTI No. 35. THE FRIGHT INTO EGY ea By GIULIO CAMPI /GIULIO CAMPI Worked principally at Cremona, where he was born, 1500, and died 1572. He emulated the Venetian painters chiefly. 35. THE FLIGHT INTO EGYPT The Madonna, seated upon the ass, is much concerned with the Child, Who clings lovingly to her breast, while the angel who pre- cedes them turns his head towards the miraculous apparition of two angels emerging from the trees to offer fruits to the Child. St. Joseph, too, who is following, is arrested by the vision. In the dis- tant landscape, to the left, are seen arches and ruins. Height, 30 inches; width, 24 inches. Note: A very beautiful painting, with extraordinary lighting effects, which led to its having been formerly attributed (from the point of view of excellence, not of style) to Lorenzo Lotto. Well preserved. See: Marcel Nicolle, “La Galerie Crespi,’ Catalogue, ed. Georges Petit, Paris, 1914, page 17; B. Berenson, “North Italian Paint- ers of the Renaissance,’ page 187; Engraving by Cornelis Cort, 1571; Photograph by Anderson, No. 3491. ‘ROGIER VAN DER WEYDEN Born 1397-1400 at Tournay; died at Brussels 1473. Pupil, or rather co-worker with Robert Campin. He visited Italy about 1449. 30. THE HOLY FAMILY IN A LANDSCAPE; THE DONOR IN ADORATION ACCOMPANIED AND PRESENTED BY HIS PATRON SAINT, ST. PAUL The holy Virgin, dressed in a gown of soft scarlet, holds the nude Child on her knees; He is embracing a large wooden cross, which is held upright by a flying angel visible on high in a bluish vapor. The donor is forcefully depicted ; he wears a robe of very dark green, edged with narrow gray fur, and in his clasped hands he holds a pair of red gloves, the sign of his nobility. St. Paul is wrapped in a large violet cloak. Behind is the Mother of God, and to her left. St. Joseph sits, asleep, dressed in pale blue and mauve garments. This inactive figure belongs almost to the background, remarkable for its quiet and very interesting mountain scenery. The arrange- ment directs the attention of the spectator mystically toward the main figures on both sides of the cross. Diagonal old parquetry panel; interesting old frame. (The canvas has been restored at an early date, and would be greatly improved by further restorations. ) Oak panel: Height, 23 inches; width, 18% inches. The Collection. Guicciardi, Milan. See: A. Venturi, “La Galleria Crespi,’ page 289-290 (reproduc- tion) ; Baedeker, “Northern Italy” (1908), page 103; Hooge- werff, “Mededeelingen van het Nederl. Histor. Instituut te Rome,” IT (1923), page 132 (with reproduction) ; Friedlander, “Altniederlandische Maleret, II’ (1924) page 104, “excellent original of about 1460,” with reproduction; Marcelle Nicolle, “La Galerie Crespi,” Catalogue, ed. Georges Petit, Paris, 1914, No. 96, with reproduction. A , H : ir fi age as nA Kann yr he oe on ah ad NA Al ‘ “y : No. 36. THE HOLY FAMILY IN A LANDSCAPE By ROGIER VAN DER WEYDEN No. 37. MADONNA AND CHILD Workshop of FRA ANGELICO WORKSHOP OF FRA ANGELICO (1387—1455) 37. MADONNA AND CHILD A fervent rendering of the Madonna in voluminous robes and ethereal veiling, seated upon a cushion with her head slightly in- clined towards the Infant Christ, Whom she supports with her left hand while in her right she holds a lily. Angels in the bloom of adolescence, amply draped in classical tunics, stand on either side in attitudes of adoration. The coloring and other characteristics are undoubtedly those of Angelico, though the forms, and expres- sion to a certain extent, lack the complete mysticism and sanctity of Fra Angelico. ‘There is no doubt that the painting came from his workshop, and it is believed some of the workmanship is that of his pupil Andrea di Giusto. In carved and gilded tabernacolo frame of the period. Panel: Height, 32 inches; width, 22 inches. BERNARDO DA PARENZO (CALLED PARENTINO) 1437—1531 38. FRONT PANEL OF A CASSONE Depicting two scenes from the story of the Emperor Trajan as de- scribed by Dante. The left shows the widow approaching the Em- peror, mounted on a gray charger, demanding justice for her son; to the right the Emperor is seated granting justice. Decorated in pastiglia with central escutcheon, flanked by eagles. (Slight res- toration. ) Panel: Height, 31% inches; width, 19 inches. (ONILLNAYFd Pj%9) OZN@IXd Vd OdUFNYA *F ANOSSVO V AO TANVd LNOW '8f ‘ON MADONNA AND CHILD ACINO DI BONAGUIDA No. 39. By P 7 % 8 bwdlis A R Yee da Listas <0. vy ‘ PACINO DI BONAGUIDA FLORENTINE: XIV CENTURY m, 39. MADONNA AND CHILD Full-length figure of the Virgin Mother, with the Child nursing at her breast. Fine color and of ingenuous expression. In a good state of preservation. Panel: Height, 39 inches; width, 19 inches. Note: Vhis master is known by his Madonna in the “Comunale of Prato.” » ¢ LORENZO DI CREDI (1459—1537) Follower and collaborator, both as a painter and a sculptor, of Andrea del Verrocchio. 40. MADONNA AND CHILD The Madonna is seated, seen nearly full face. She holds the Child on her right; beyond the parapet a landscape. In original taber- nacolo frame, of gilt and painted wood. In the “shield” is repro- duced the coat of arms of the Rucellai family. (Slight restora- tion. ) Panel: Height, 24 inches; width, 17 inches. Formerly in a villa in the neighborhood of San Romano, in the province of Pisa. From the Fairfax Murray Collection. NA-AN DS CHILD . MADON By LORENZO DI CREDI 40 No 41. TRIPTYCH No aI ECILIA C MASTER OF ST fe the ) J B ‘ “MASTER OF ST CECILIA” (SO CALLED BY PERKINS) This artist 1s mentioned by Vasari as being active dur- ing 1351, but the actual dates of his birth and death are unknown. Undoubtedly he was influenced by iT Giotto. 41. TRIPTYCH: MADONNA, CHILD AND SAINTS In the central panel is shown the enthroned Madonna, against a crimson drapery, with the Child; the holy Mother is robed in the traditional crimson tunic, but with a green hood and mantle; on either side are Saints Lucia and Marguerite; Saints Mary Mag- dalene and Catherine. In the left panel, the Archangel Michael is in combat with the dragon, in the right is the Crucifixion, with the desolate figures of the blessed Virgin and St. John; below are six saints, Augustine, Peter and Francis; St. Bernardo, and two uniden- tified saints. In original tabernacolo frame. Central panel: Height, 29 inches; width, 17 inches; Side panels: Height, 29 inches; width, 9 inches. 9 x FLORENTINE SCHOOL «> XV-XVI CENTURY 42. MADONNA AND CHILD The Madonna is enthroned in an architectural niche, hooded and robed in a crimson tunic and a Botticelli-green mantle with the in- fant Saviour partly draped and standing at her right side; in her left hand she holds a missal. In contemporary arched frame. Panel: Height, 33 inches; width, 20 inches. No. 42. MADONNA AND CHILD FLORENTINE SCHOOL (XV-XVI Century) No. 43. THE. CRESPI MADONNA Attributed to MICHELANGELO BUONARROTI MICHELANGELO BUONARROTI (ATTRIBUTED TO) 1475—1 564. 43. THE CRESPI MADONNA Half-length figure of the Virgin, seen in profile, the head turned to the left. She holds in her arms the Child, Who, laughing, is turned a little to the right, and clings to her neck with His left hand; with His right He clasps the right hand of His Mother. The background consists of a mountainous landscape. ‘The grandeur, be it of the group as a whole, or of each separate figure, is truly Michelangel- esque, and the types are absolutely his. Some participation on the part of the master is beyond doubt, at least in the sketch of the paint- ing. All the easel works, except the tondo of the Holy Family in the Uffizi, which are attributed to Michelangelo, are disputable. In this Crespi Madonna are seen the same probabilities as in the exam- ple in the London National Gallery and that at Dublin, and there- fore, equally, they should be attributed with the same hesitation. A proof that the painting cannot be exclusively the work of pupils lies in the fact that there is apparent in the profile, the drap- ery, the attitude and other details of the Madonna, a clear derivation of the Pazzi Madonna of Donatello, which is in the Kaiser Fried- rich Museum at Berlin. Michelangelo, as a young man, came under the influence of Donatello, whereas an imitator of Michel- angelo would, by this time, have been free from the possibility of such influence. Panel: Height, 33 inches; width, 24 inches. See: F. Knapp, “Michelangelo (Des Meisterwerke),” Leipzig, 1907, page 148; Joanne’s Guide; Baedeker, Milano, Frizzont, “Les Arts,’ 1904, No. 29, p. 31-323; “Collection des Classtques de l’Art Michelange,”’ Paris, 1909. Bs os - ~@ ral ¢ ¢. - \ = ot » a e (Train of Coss ude °°") “BE ORENTINE MASTER (UNIDENTIFIED ) MIDDLE OF THE XV CENTURY 44. DESCO DA PARTO: SOLOMON’S JUDGMENT In an architectural niche, flanked by stately fifteenth century man- sions, Solomon is enthroned pronouncing judgment. The two moth- ers are in the centre, kneeling, and before them a soldier holds the child; around, are gorgeously arrayed personages. On the reverse side is depicted HOPE between winged putti supporting the armorial bearings of the family to whom the desco is presented. Twelve-sided panel: Diameter, 30 inches. Note: These trays were ordered on the occasion of a birth in the great Florentine families. This example is in a fine state of preservation. ie ,o thay wa iM AS , Compomsnr host, “Quen a—Shuba , (x « Ciecnananei rite ; TAY Ah * n LS Me ee | frais Wing ' AUB? : A by a . Vi f ) | “i , f off tra weerce —sAty. | pide: Port, Ce (9y9 \ iy ta ) Bn j Lae on ey ny i OWeriLCo ene) &NO ' colt.) No. 44. DESCO DA PARTO: SOLOMON’S JUDGMENT (Obverse and reverse) By a FLORENTINE MASTER (Unidentified ) = RRRAKRRRBKRREKEEEEELEEE EER to s No. 45. THE CRUCIFIXION Attributed to BERNARDINO LUINI ‘BERNARDINO LUINI (ATTRIBUTED TO) 1475-—1532 45. THE CRUCIFIXION Our Lord is seen on the cross, nude save for a loin-cloth, with a thickly wooded landscape background through which the mounted Roman soldiery are retiring to their turreted battlements. At the foot of the cross, Mary Magdalene kneels with an expression of intense agony, with the pathetic figure of the Virgin Mother by her, and the other more historically treated figures of St. Paul with sword reversed, St. John, as a youthful figure, and St. Francis. Height, 37 inches; width, 29 inches. Note: This important work is veiled in a gossamer web of chiaroscuro as used for the modeling of form by the contrast of light, much after the manner of da Vinci. The impressive- ness of the crucified figure limpid and ashy in its whiteness is most effective. Professor Venturi has stated that this picture is an earlier work than the replica in the Hermitage at St. Peters- burg, and is of finer quality. Reproduced in “Luini”’ by L. Beltrami, page 468; Photograph No. 3477, by Anderson. > “A H ; YY \, 74% i ; i ¥ LORENZO LOTTO Born at Venice in 1480; died at Loreto, 1556. 40. THE HOLY FAMILY The Virgin, seen at half-length, is seated, clasping the Child lovingly to her. The Child, while turned away from His Mother, caresses her with His right hand. Behind, on the right, is seen the thoughtful head of St. Joseph; on the left, the head of an angel. The whole canvas is filled by the group. The figures, turned either toward the left or the right, lean at an almost violent angle; the characteristics of Lotto’s grouping are all similar. The picture is signed in the top right hand corner, L. Lotus; MDXII. It was painted for the chapel of the Tadini Palace at Romano Lombardo, Bergamo. In a beautiful frame of the period. (There are slight restorations which in no wise affect the beauty of the painting.) Height, 29 inches; width, 25 inches. od See: Joanne’s “Guide”, and Baedeker. No. 46. THE HOLY FAMILY By LORENZO LOTTO No. 47. SALOME By ANDREA SOLARIO ANDREA SOLARIO CIRCA 1460—1530 47. SALOME On the left, the executioner is in the act of placing the head of St. John the Baptist on the charger, which he offers to Salome. Behind is Herod’s wife. In the background the king’s banquet is glimpsed through an opening. The picture can be compared with the portrait of a woman play- ing the lute, at one time in the Hertz Collection and now in the Palazzo Venezia at Rome, and other portraits by Andrea Solario. In an excellent state of preservation. Panel: Height, 25 inches; length, 30 inches. The Fairfax Murray Collection. ret 2 ‘PIETRO LORENZETTI SIENESE: 1306—1348 48. TRIPTYCH: MADONNA, CHILD AND SAINTS The central panel depicts the half-length figure of the Madonna hooded and robed in a superb fluctuating blue mantle with a gold- embroidered star at her right shoulder; the Child, half draped with a crimson cloth, is nestling against His Mother. ‘The left panel depicts St. Paul richly robed in a green tunic and aubergine mantle, bearing a sheathed sword; the right panel, St. Peter in a tunic of a more brilliant green, and an old-gold mantle, with the keys and papal ring. In the arches above are the Redeemer, St. Mary Mag- dalene and St. Michael. The background is of gold. In the orig- inal tabernacolo. Height, 5134 inches; width, 50 inches. Catalogued by the Italian Government, May 27, 1922. 2 _— “4 +o. No. 48. TRIPTYCH By PIETRO LORENZETTI No. 49. SACRA CONVERSAZIONE By FRA BARTOLOMEO DELLA PORTA in collaboration with MARIOTTO ALBERTINELLI FRA BARTOLOMEO DELLA PORTA IN COLLABORATION WITH MARIOTTO ALBERTINELLI Fra Bartolomeo (1472-1517) worked from 1592 to 1512 almost uninterruptedly with Mariotto Alberti- nelli, in the convent of St. Mark at Florence. This ts the period that ts called “of the School of St. Mark.” 49. SACRA CONVERSAZIONE The Madonna is seated on a throne in the centre, with the Child; on the right the youthful St. John approaches the Child, led by an angel; on the left, turned towards the Virgin, in an attitude of devo- tion, is St. Dominic, attended by two angels. Landscape back- ground. The skill displayed in the composition, the admirable head of St. Dominic and the alertness of the figure of St. John, recall very strongly the style of Fra Bartolomeo. On the other hand, as it is impossible to attribute every detail to the hand of Bartolomeo, one must place it in that period in which Albertinelli collaborated with him. In a good state of preservation. Tondo: Diameter, 46 inches. The Fairfax Murray Collection. Shea, , an) . tp 247 ).m.) ~ANTONELLO DA MESSINA 1430 (?°)—1479 50. ENERGETIC PORTRAIT OF A SICILIAN PATRICIAN IN ECCLESIASTICAL COSTUME A bust portrait, holding the votive model of a church, half of which is seen at lower left of the picture. Senator Adolfo Venturi in 1920 expressed himself critically in an article devoted to this painting and published in the bi-annual renal periodical Arte of 1921—March to June, and republished in 1923, as follows: “A sudden brilliance, as in the Virgin with a Book at Palermo, lights the face of ie Sicilian, who holds in his un- seen hand the votive model of a church; the breast-wall cuts the .. figure at bust length, according to the usual composition of the por- traits of Antonello; the head, not painted with the easy foreshorten- ing of the Condottiero of the Louvre or of the Old Man of the Casa Trivulzio, retains the cylindrical form found in the portraits in Lon- don and Berlin, but the forceful and almost violent partition of the light and shade, a new and potent means of plastic definition, marks a similarity with the portrait of the Condottiero and affords the certainty that the work is of his first Venetian period, that is to say of the years in which the Messina family undertook at Venice the lost pala of San Cassiano.” Note: The picture is illustrated in Arte, Adolfo Venturi, “Per Antonello da Messina,” Rome, 1921, and also in Arte, Rome, 1923. Panel: Height, 16 inches; width, 13 inches. ‘ | Tr > aes “TW AN Aim qahny , \ a u fe * : A. Coo. ata 2aur ESsay vr Scdatle S whens her hur by “bem deataunt adi SuCarwiaue Alerpieee. | tony by ) a y/ t \ 4 ¥ ft ne See , teh lenndn = Yate dee OE Gerth Seeing «tye. “TO padilte H srrdr counts Sofa . Sotheee 4 nets Man. 1925. (112). 32 % 12 ne b Marz Hand Guy 2s No. 52. PAINTING ON PANEL: MADONNA AND CHILD By AGNOLO GADDI IddFd OdaF NAA 6 IVITAONA VIVd “€& “ON BERNARDO DADDI FLORENTINE: First HALF oF XIV CENTURY 53. PALA RUCELLAI In five segmental panels: The central panel depicts the Madonna and Child; the Blessed Virgin, hooded and robed in a green gold tunic, with an indigo-blue mantle, in her arms the fully robed Child in an attitude of infinite tenderness. ‘The side panels from left to right de- pict, St. Francis of Assisi with tonsured head, robed in the olive- green habit, and bearing a crimson bound missal; St. John in purple- crimson, the Archangel Michael in aubergine tunic, and a green cope fastened by a clasp, and carrying the unsheathed sword; St. Bernard in the black habit with hood, and an open missal. In the cusped arches are the four evangelists, and above six winged sera- phim heads. The seraphim heads are a later addition of the fif- teenth century; probably to give the effect of a square top and can be easily removed. Gold background. Height, 4 feet 1 inch; length, 8 feet 5 inches. Note: The pala is from the Capella Rucellai in the church of San Pancrazio a Firenze, and in Italy is known as the “Pala Rucellai.” Classified by the Italian Government April 6, 1918. Q} “ANDREA ORCAGNA FLORENTINE: 1308 (?)—1368 54. LARGE PALA REPRESENTING THE LEGEND OF ST. JOHN THE BAPTIST In the central panel is an outstanding erect full-face figure of John the Baptist, holding in his right hand a scroll inscribed: Ego vox cla- mantis in deserto, and in his left hand a cross. At his feet lies Herod, who, turning towards the saint, proclaims his virtues: Nos insensati vitam illorum extimabus insaniam, etc. In the spandrels are seraphim and in the side panels and the base, from the top to the bottom and from left to right, are various scenes from the life of the saint in the following order: 1. THE ANNOUNCEMENT OF THE ANGEL TO ZACHARIAH. In the interior of a temple before an altar the angel is making the announcement of his impending fatherhood to Zachariah, who, in the act of prayer, is swinging a censer. 11. THE VISITATION. Mary, followed by a handmaiden, visits St. Elizabeth, who greets her, prostrating herself before her, iI. ‘THE BIRTH OF JOHN. In the bedchamber the mother, in bed, is assisted by a handmaiden, in the foreground; two other handmaidens attend the child, while a fourth is receiving gifts from an old woman. Iv. THE CHRISTENING. The four handmaidens in a group are presenting the babe to the priest, 7G names him John (“Jo- hannes est nomen eius’’). Vv. JOURNEY IN THE DESERT. The young John, in sandals, with his garment of camel’s hair, departs into the desert. VI. PREACHING THE GOSPEL. St. John presents Christ to a crowd of listeners. [ Continued JOHN No. 54. LARGE PALA REPRESENTING THE LEGEND OF ST E BAPTIST AGes By ANDREA ORCAGNA No. 54. CONCLUDED vil. THE BAPTISM OF CuRIsT. On the right Christ is being baptized by St. John in the river Jordan, and two angels on the bank to the left, kneel holding an outspread cloth. vill. HeRop’s Feast. The king and his guests at table ad- mire Salome, who is dancing. Ix. THE MARTYRDOM OF ST. JOHN. Kneeling at the prison door is the saint, who is being beheaded. X. THE PRESENTATION OF THE HEAD OF THE BAPTIST. Salome, kneeling, presents to Herod the head of the saint on a charger. XI. CHRIST IN LimMgo, (Base portion.) Christ, carrying the banner of victory at the threshold of Limbo, to free the souls; the third in the group is the Baptist. Height (central part), 42 inches; length, 87 inches. This notable masterpiece, certainly one of the most wonderful productions of primitive Italian art, is remarkable for its originality and vigor of expression, combined with the most delicate grace of form, and in contemplating its beautiful and enamel-like finish, one does not know which to admire more—its brightness and perfect blending of colors, or its unique state of preservation. The Fairfax Murray Collection. FILIPPINO LIPPI Born at Prato about 1457, the son of Filippo Lippi; died at Florence, 1504. Huis art developed under the guidance of hts father; he also came under the in- fluence of Cosimo and to a great extent of Botticellt. 55. LEGEND OF PERSEUS Among the many episodes in the life of the hero there are here de- picted: On the left, Zeus conquers with golden rain, and Danaé, who bears Perseus—mother and son are placed in a boat. In the centre, King Polydictus, who cares for Danaé and Perseus when they are cast by a storm on to the island of Seriphos, the same king sending Perseus, now a grown man, on his expedition against the Gorgons. On the right Perseus is seen, who, with the winged san- dals of Hermes, the shield of Athena and the helm of Hades, suc- ceeds in his quest and cuts off the head of Medusa, from whose body rises Pegasus and who is seen flying above. Panel: Height, 20 inches; length, 65 inches. Note: The rather accentuated movement in the figures, the generally dark tone of the coloring, would place the execution in the period of Filippino’s frescoes at Santa Maria Sopra Minerva at Rome, and that agrees with the date 1492, on one of the two panels. In an excellent state of preservation; evidently the front of a coffer or espalier. (Companion to the following) CMan isn, 1e-$7, ¥ (Schoek o} Ai Cosimo.) No. 55. LEGEND OF PERSEUS By @FILIPPINOVEIPPI No. 56. LEGEND OF PERSEUS By FILIPPINGELIZPE FILIPPINO LIPPI Born at Prato about 1457, the son of Filippo Lippi; died at Florence 1504. H1s art developed under the guidance of his father; he also came under the in- fluence of Cosimo and to a great extent of Botticellt. 560. LEGEND OF PERSEUS From left to right across the canvas, the legend of the hero is de- veloped: ; (1) Perseus, armed, goes to Atlanta, who, having denied him hospitality, is turned to stone by the head of Medusa; (11) Perseus, helped by Pegasus, goes into the garden of the Hesperides, the nephews of Atlanta, and steals the golden apples; (111) Perseus fights Rhineus and his followers and obtains a victory by petrifying his enemies with the head of Medusa. Panel: Height, 20 inches; length, 65 inches. (Companion to the preceding) (-v “ PALMA IL VECCHIO Born at Venice 1480. Died 1528. 57. THE RISEN CHRIST Christ, standing and facing front, nude except for a flowing loin- cloth, holds in His left hand the banner of victory decorated with the cross, His right hand apparently pointing and his gaze turned to heaven. Landscape background, with trees to the left and a lake on the right. This picture is, in the nobility of its conception and beauty of line, a true ee _ Panel: ees 52 inches; width, 32 inches, In the Gallery of the Aethdake DO ae and Der Juan of Austria in the seventeenth century. +3 See: Frizzont, “Rassegna d’Arte,” 1906, page 116: “New Revela- tions concerning Jacopo Palma il Vecchio,” Arte, 1911, page 41; “I Polittict Palmeschi,” Crowe and G. B. Cavalcaselle, “A History of Painting in North Italy,” vol. III, page 387; Men- tioned in Baedeker; Etching of R. Einhoudets in “Le Théatre des Peintures de David Teniers . . . peintre et aide de chambre des sérénissimes princes Léopold Guil. Archiduc et Don Jean d’Autriche,” Bruxelles, 1660; Planche 174. No. 57. THE RISEN CHRIST By PALMA IL VECCHIO | No. 58. MADONNA AND CHILD By JACOPO DEL SELLAIO JACOPO DEL SELLAIO < FLORENTINE: 1442—1493 58. MADONNA AND CHILD The half-length figure of the Madonna is represented with the Child nestling closely to her, with all the grace and in the very decorative manner of this master. In beautiful luminous colors. Panel: Height, 32 inches; width, 19 inches. Note: This master conducted with Filippo di Giuliano a bottega at San Miniato. Lh BL. Pod eh 2 aA 2, (Are FE Lang 7 he @ WORKSHOP OF THE VIVARINI VENICE: XV CENTURY 59. POLYPTYCH The central panel portrays the full-length figure of the girdled Ma-. donna, within the mandorla, supported by angels; at her feet are St. Thomas and four donors in devout attitude. The side panels depict SS. Antonio Abate, Agostino, Monica, Agostino Novello and another, unidentified. Central panel: Height, 54 inches; width, 44 inches; side panels: Height, 54 inches; width, 24 inches. Note: The depiction of the Saints Agostiniani shows that this work was most probably executed either for a church or monastery of this Order. The work is indisputably from the workshop of the Vivarini and shows the predominant characteristics of -Alvise, in the boldness of design and the sculptural realism. !) PTYCH (Central Pane Workshop of the VIVARINI 7 POLY No. 59. (Right Panel) . - 39 No (Left Panel) 59 No, ( ; « q S oi .. « ie , iad oh ' a 7 : 3 " 4 -_ os “ a ; * a ais * sf ioe * a as * ¢ 4 ai} LIST OF ARTISTS REPRESENTED AND THEIR WORKS CATAL EY ANTONELLO DA MESSINA Energetic Portrait of a Sicilian Patrician in Ecclesias- tical Costume 50 AQUILIO, ANTONIO (Called ANTONIAZZO ROMANO) Votive Panel 19 AVIGNON, SCHOOL OF The Mourning for Christ 32 BARNABA DA MODENA The Coronation of the Virgin se BOLOGNA, SIMONE DA The Crucifixion II BONAGUIDA, PACINI DI Madonna and Child 39 CAMPI, GIULIO The Flight into Egypt 35 CAPORALI, BARTOLOMEO Madonna and Child 14 CORREGGIO (ANTONIO ALLEGRI) Mater Amabilis 20 CREDI, LORENZO DI Madonna and Child , 40 CRISTOFORO DA FERRARA Madonna and Child with Saints | 22 DADDI, BERNARDO Pala Rucellai DEI CONTI, BERNARDINO Portrait of a Man DELLA QUERCIA, PRIAMO Madonna and Child D’OGGIONO, Marco St. Stephen and St. Bonaventura (Two Panels) FLORENTINE MASTER (UNIDENTIFIED) Desco da Parto: Solomon’s Judgment FLORENTINE SCHOOL A Triumph A Triumph A Triumph Departure of Three Warriors Madonna and Child Madonna and Child Madonna and Child Madonna and Child with Saints FRA ANGELICO, WorksHop OF Madonna and Child FRA BARTOLOMEO DELLA PORTA in Collaboration with MARIOTTO ALBERTINELLI Sacra Conversazione FUNGAI, BERNARDINO Madonna and Child CATALOGUE NUMBER 53 34 37 49 2! CATALOGUE NUMBER GADDI, AGNOLO Painting on Panel: Madonna and Child 52 GERINI, LORENZo DiI NICCOLO DI PIETRO Madonna and Child with Angels 26 GIOTTO, ScHooL oF (Probably GUARIENTO) Madonna and Child with Angels 24 LIPPI, FILIPPINO Legend of Perseus is Legend of Perseus 56 LORENZETTI, PIETRO Saint Mary Magdalene 2 The Crucifixion : 12 Triptych: Madonna, Child and Saints 48 LOTTO, LORENZO Portrait of the Poet Meldolla SI The Holy Family 46 LUINI, BERNARDINO (Attributed to) The Crucifixion 45 MARIESCHI, MICHELE Landscape 3 Landscape 4 MASOLINO DA PANICALE Madonna and Child 33 “MASTER OF ST. CECILIA” (So CALLED BY PERKINS) Triptych: Madonna, Child and Saints Al “auc MICHELANGELO (BUONARROTI) (Attributed to) The Crespi Madonna 43 ORCAGNA, ANDREA Large Pala Representing the Legend of St. John the Baptist 54 PALMA IL VECCHIO The Risen Christ 57 PARENZO, BERNARDO DA (Called PARENTINO) Front Panel of a Cassone 38 Historical Subject 8 PONTE, GIOVANNI DAL Madonna and Child with Saints 9 PREVITALI, ANDREA A Holy Bishop (Saint Augustine?) 2 SAN SEVERINO, LORENZO DA Triptych: Virgin and Child 13 SELLAIO, JACOPO DEL Madonna and Child 58 SOLARIO, ANDREA Salome 47 SQUARCIONE (Attributed to) Christ Before Caiaphas 16 UMBRIAN SCHOOL (FOLLOWER oF PINTURICCHIO) - Triptych 25 -greo “se ; _ VAN DER WEYDEN, Roairr tte | The Holy Family in a Landscape VENETIAN SCHOOL ~ Enthroned Madonna _ VIVARINI, BARTOLOMEO Madonna and Child 4 meta. “- id _ VIVARIN I, WorKSHOP OF THE Sees. Polyptych CATALOGUE - NUMBER 36 10 59 COMPOSITION, PRESSWORK AND BINDING BY oe U ~ . ea a ~ . e i - - a 5 ; » o> J a iP oe Sh Se oS a?! fe oa = | THE GETTY CENTER > | | 126 ApH figs sO c.2 LIBRARY py rae n of Sr. Achil iy ‘ign