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M 0 Osby ot SPR é : ‘ i } J cine i, : E 5 . fi “ ¢ i as cea pe “ og 5 q F Wh Evade inn 5 , i i ma ea : aR a 2 ; ‘ ‘ 4 ey sEege : : Sree sc a ien ta u ay a Ms m ' ‘ » , , + \ fied THE J. PAUL GETTY MUSEUM LIBRARY A Ps 5 permet SR 39 | a. atts THE PAOLINI COLLECTION PAINTINGS AND SCULPTURES ON FREE VIEW FROM SUNDAY, DECEMBER 7, 1024 UNTIL DATES OF SALE » WEEKDAYS FROM 9 A.M. TO 6 P.M. » SUNDAY FROM 2 TO 5 P.M. : TEN CE Sie Gale as isis eens Ace EVENINGS OF DECEMBER 10 AND 11 JoWh Maps (OKEIOIC)< = EXHIBITION AND SALE AT THE AMERIG@AN ART GALEERIES MADISON AVENUE » 56TH to 57TH STREET NEW YORK é PH ESGORBECTION OF PROFESSOR BAOLO, PAOLINI ROME » ITALY DISTINGUISHED PAINTINGS & SCULPTURES BY CELEBRATED ITALIAN MASTERS X-XVI CENTURY EXPERTIZATIONS GIVEN BY AND AUTHORITIES QUOTED: DR: WILEIAM, BODE » PROFESSOR G. DE NICOLA, DIRECTORY OFs THE BARGELLO MUSEUM, “PLORENCE »] DRa °F MASON PERKINS 7 DR. GEORG GRONAU, DIRECTOR OF THE PINAKOTHEK, CASSEL * DR. RAY- MOND VON MARLE7 BARON VON HADELN OF BERLIN » DR. SUIDA OF VIENNA TO BE SOLD UNDER THE MANAGEMENT OF THE AMERICAN ART ASSOCIATION, INC. SALES CONDUCTED BY MR. O. BERNET AND MR. H. H. PARKE : vs 1 3 of ; ‘ t : 7 ow . a a ; Rack < 3% S ye) tb 2 Ah Irn faa pare | 5 Q ge 4 z 3 | 2 9 FOREWORD HE most significant feature of art collecting in America in recent years has been the growth of appreciation of early Italian paintings and sculptures, works produced before the seventeenth century, and the steady development of collections, both private and in museums, devoted to such works, i.e. productions of the thirteenth to the sixteenth century. In view of this situation, the offering of the Professor Paolo Paolini Collection of paintings and sculptures at public sale presents to lovers of old Italian art an opportunity to acquire rare and fine examples that is unique in the history of Amer- ican art auctions. For, with very few exceptions, the Paolini Collec- tion is comprised of Italian art of the first Renaissance, which developed in the thirteenth century and continued through the fif- teenth. This famous connoisseur of Rome has spent thirty years in assembling the works now presented to the American public—thirty years spent in close study of paintings and sculptures, during which time he has placed some of the rarest works of art in the most im- portant American collections, among them the Johnson Collection, Philadelphia; the Walters Collection, Baltimore; the Dan Fellowes Platt, Englewood, and the Philip Lehman, New York; in the Metro- politan Museum, the Boston Museum of Fine Arts, the Chicago Art Institute, the Minneapolis Institute of Art and the Cleveland Mu- seum of Art. Professor Paolini’s greatest distinction in his work is the number of discoveries he has made of paintings,in particular, by Italian artists hitherto known only by name or possibly by one or two examples. Thus, in the present exhibition may be seen a panel by Vigoroso da Siena (Madonna and Child, No. 41) by whom only one picture was known to exist, a signed work in the Gallery of Perugia, with the date of 1283 (?). Only four or five paintings by Deodato Orlandi are known, yet here we have a signed and dated work by him (Ma- donna and Child, No. 104). Likewise the rare Andrea Vanni, the fourteenth century Sienese, is represented by a most interesting little gem (The Annunciation and Nativity, No. 35). The uniqueness of this collection, either within the limitations of its special field or looked at from the broader viewpoint of art in general, may be judged by the rarity and importance of the artists included therein, and even more by the high quality of their works. Included among the artists represented are Barnaba da Modena, Segna di Bonaventura, Jacopo del Casentino, Cosimo Tura, Barna da Siena, Cima da Conegliano (Madonna, Child and Saint, No. 50), Pinturicchio and a very rare work of Quiricius da Murano (The Miracle of St. Dominic, No. 90), Andrea Mantegna, Carlo Crivelli, Filippino Lippi, Antonio Vivarini, a triptych by Simone dei Croci- fissi (No. 26), Giorgione Schiavone and Guariento. There are splendid examples of Titian, Lorenzo Lotto, Botti- celli, Jacopo Bellini, Mantegna, Palma Vecchio and Melozzo da Forli, while amongst the attributions are the names of Francesco del Cossa, Carpaccio, Giovanni Bellini, Bastiano Mainardi, Andrea di Bartolo, Masolino da Panicale, Giorgione and 'Tintoretto. In this connection it must be mentioned that Professor Paolini has had most of the paintings and sculptures passed upon by the leading authorities of Europe, including Professor G. de Nicola, Director of the Bargello Museum, Florence, Dr. William Bode, F. Mason Perkins, Dr. Ray- mond von Marle, Dr. Georg Gronau and the Baron von Hadeln. In several instances their opinions have led to a confirmation of attri- butions that Professor Paolini very frankly questioned himself! As with the paintings, the sculptures in the Paolini Collection are of rare and fine quality. They include an example of Roman art of the tenth century, a reading stand of the Cosmatesque School of the thirteenth century and a Florentine statuette of the same period; a remarkable bust by Guido Mazzoni da Modena (No. 9); a Nativity of the School of Gaggini; Adriano Fiorentino’s exquisite Eve in bronze (No. 4); the marble bust of a boy by Desiderio da Settignano (No. 12); Donatello’s St. John (No. 14); the marble Christ Child Blessing, thirteenth century (No. 11); the lovely Ros- sellino Madonna and Child (No. 79) ; the large Madonna and Child in polychromed wood (No. 75); and the Bust of a Young Man by Antonio Pollaiuolo (No. 80). Other than Italian paintings the collection of Professor Paolini includes only one English picture, a sketch in oil by John Hoppner, a portrait by Velasquez and two French paintings, a Boucher (signed) and a primitive of the fourteenth century. There are two cassone fronts of historical interest as well as pictorial charm and beauty, and a wooden chest lined with Murano glass, which a family tradition held to be a chest of Francesca da Rimini. A feature of the collection is the large number of contemporary frames enclosing the paintings and one of the sculptures. AMERICAN ART ASSOCIATION, INC. 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. Il. 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. Ill. Identification and devosit by buyer: The name of the buyer of each ist shall be given immediately on the sale thereof, and when so required, each buyer shall sign a eard 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. 7* the two foregoing conditions are not complied with, the lot or lots so pur- ehased 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 purchasers’ 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 receipted 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 calling for goods:. 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 Association 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 pur- chasers every facility for employing 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 cor- rectly 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 cataloging or imper- fection not noted or pointed out. Every lot is sold “as is” and without recourse. Every lot is on public exhibition one or mcre days prior to its sale, and the Asso- ciation 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 thereafter 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 he 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 permit, will be faithfully attended to without charge or commission. Any purehases so made will be subject to the foregoing conditions of sale. except that, in the event of a purchase of a lot of 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 he 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 he stated to be se much for the lot. and when the lot consists of one or more volumes of books or objects of arts, the bid per volume or piece should also be stated. If the one transmitting the order is unknown to the Asso- ciation, a deposit must be sent or reference submitted. Shipping directions should also be given. a 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 copy- ing 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. AMBRICAN ART ASSOCIATION, INC., OTTO BERNET. MANAGERS, HIRAM H. PARKH, AUCTIONEERS, INTELLIGENT APPRAISALS FOR UNITED STA ESsanp SU Asoaie es INSURANCE AND OTHER PURPOSES AND CATALOGUES OF PRIVATE COLLECTIONS A ppRAISALS AND CATALOGUES. Together with the increase in exhibition and sales rooms, the American Art Association, Inc., will expand its serv- ice of furnishing appraisements, under expert direction, of art and literary property, jewelry and all personal effects, in the settlement of estates, for inheritance tax, insurance and other purposes. It is prepared also to supplement this work by making catalogues of the contents of homes or of entire estates, such cata- logues to be modelled after the finely and intelligently produced catalogues of the Association’s own Sales. The Association will furnish at request the names of many Trust and Insurance Companies, Executors, Administrators, Trustees, Attorneys and private in- dividuals for whom the Association has made ap- praisements which have not only been entirely satis- factory to them, but have been accepted by the United States Revenue Department, State Comptroller and others in interest. Ghe AMERICAN ART ASSOCIATION, Inc. MADISON AVENUE, 56rH TO 571m STREET NEW YORK CITY 7? ite | as ae - vas GINS SESSION WEDNESDAY EVENING, DECEMBER 10, 1924 AT THE AMERICAN ART GALLERIES BEGINNING AT 8:15 O’CLOCK Catalogue Numbers 1 to 63 inclusive ITALIAN BRONZE, TERRA-COTTA AND SCULP- Pee MARBLE STATUE PRESS BUSTS AND Peo REE ES OF PE XITeEOOG aGEN BURY PADUAN SCHOOL ~ XVI Century 1I—BRONZE STATUETTE OF VENUS Height, 10% inches THE figure stands on a triangular base which is ornamented with a mask and two floral corner forms serving as feet. The goddess holds a dove in her right hand. The patine is superb, the whole being a fine example of one of the many versions of the motive of the Venus of the Medici of which the sixteenth century showed such a wealth of illustrations. VENETIAN SCHOOL XVI CENTURY 2—BRONZE CUP Height, 13 inches Wir a rock formation as their base two nude male figures in atti- tudes suggesting the strain of weight and balance uphold a molded cup, the whole having a rich, deep patine. From the Collection of Marquise Lichtenstein, Vienna. BARTOLOMMEO BELLANO PapuAN: 1430-1492 3—PERSEUS AND THE DRAGON (Bronze) Height, 9 inches In a loin-cloth and holding his great sword upright, its point in the dragon’s body, Perseus sits on a rock resting his head on his right hand and his elbow on his knee. He looks downward at the dragon, which is coiled around the bottom of the rock. The sword is broken at the point where it touches the inside of his left leg. From the Marquis S. Vitale Collection, Parma. ADRIANO FIORENTINO ITALIAN: XVI CENTURY 4—EV E (Bronze) Height, 16 inches Tue figure stands on a green marble base, an apple in her right hand which falls by her side while with the left hand she holds away from her shoulder a tress of hair. Fine patine. Note: In the E. Foulc Collection, Paris, is a second example of this bronze, but with the right arm in the same position and no apple in the hand. This clearly demonstrates, says Professor Paolini, that the bronze here is another original work of the master which has never been repeated. See plate XVIII in Vol I of Bode’s “Die Italienischen Bronzestatuetten der Renais- sance.” From the Joubert Collection, London. IL RICCIO (ANDREA BRIOSCO) “-PADUAN: 1460—1532 5—APOLLO PLAYING THE LYRE (Bronze) Height, 91/ inches SEATED on a pedestal with a figure in low relief on its front and with projecting supports Apollo is represented in a Roman military cos- tume, his lyre on his left thigh, a short baton in his clenched right hand. He leans toward his left and his mouth is open as if singing. Note: Another example of this work is in the Louvre and is illustrated in Plate XX XI, Vol. I, of Bode’s “Die Italienischen Bronzestatuetten der Renais- sance.” From the Joubert Collection, London. aAqQ—p “ON GUAT AHL ONIAVIG OTTOdY—G ‘ON GIOVANNI PISANO Pisan ScHoot: XIV CrEnrury 6—THRRA-COTTA BAS-RELIEF Height, 16 mches; length, 26 inches In the center of the composition Christ is addressing a varied herd of animals at the right, while behind Him, at the left, are two angels. This oblong terra-cotta work is the study made by this sculptor for the bas-relief in stone which is one of the features of the facade of the Orvieto Cathedral. FLORENTINE SCHOOL XIII Century 7—MADONNA AND CHILD (SrarurTtre or FirsoLte STONE) Height, 191% inches Tue Virgin in a hooded cloak carries the nude Christ Child on her left hip supported by her left arm, the pose of the figure being reminiscent of Gothic ivory carvings that followed the curving line of the horn. The stone is slate gray in color. ANTONELLO GAGGINI CArrrisurep To) SIcILY: 1478—1588 8—THE NATIVITY (Marsie REeEtier) Height, 40 inches; width, 271 inches THE stable at Bethlehem has been represented by Gaggini or by a follower of his school as standing in a Romanesque arch with pilasters in the form of columns on either side, God the Father and angels in the lunette above. An ox and ass look down at the Child lying in a playful attitude on a rock, the Virgin kneeling at His feet in adoration. St. Joseph stands at the right, his knee resting on a kennel, and at the left are the reverential shepherds. The wall of a house is behind St. Joseph and flying angels are against the wall at the left, on which appear tiny figures of shepherds and sheep. “This work reveals a fresh artistic touch, rich in decorative detail and almost pictorial, characterizing many sculptures so frequently encountered in the Sicilian churches and emanating from Gaggini and his school.”—Pror. G. Dre Nicos, Director of the Bargello Museum, Florence. — es 4s = - ~ 7? e , es vo* ‘ei ere Mn . t . ' : 5 ; . — \ 4 = . ay . iv 4 *, —~ Sie : z . ie € “ay °> a Pt F. . - : ? ‘ . Le ‘ ” a Ee - > bean 4 +, ” a a % » s 0S SE eee 2 i 3 ~ Bie ae t =} Me Wy ai ~ ard ¥ “ # io * C7 al = - ~ + 4 : a * st bg : ARs . ‘ - - >. ‘ a A ; > eit - v ; id . ot ; 7 ye : * : ‘ “ , ' j ‘ 4 2 * ; : * = . : a eras ne hai es ole WE ek i ae Ble ae Rie a woes a ‘ ee BA oP . - e é A ay e sv . - eee q, 4 . a : ) oA >. : a e ‘ “ 1 r “es . Bes Se ‘ 2 vars ‘ ° ; wont x . x, \ e . ' t.- >} rs 4 z ’ é ¥ < . Pe aS ne I a , | ‘ Pa - | “ - i oe 7 . J . ¥ es son ert ir Aim ote Suerte a ka Mire AD ee SNE 1 ee een a oe has pee . WARY ees wie we No. 9 PORTRAIT BUST OF A MAN BY GUIDO MAZZONI DA MODENA GUIDO MAZZONI DA MODENA Mopena ScHooLt: XV CENTURY 9—PORTRAIT BUST OF A MAN (TERRA-coTTA) Height, 281% inches BEARING traces of polychrome which give to its reddish material a tone of brown, the almost half-length head and torso show a grave-faced man in a stiff, round cap, his downward gaze adding much to the serious character portrayed by the sculptor. His long, realistically modeled right hand is against his breast. ‘The left hand is missing. Note: This great artist flourished in the fifteenth century and was per- haps the first to create the large groups of ‘“Pieta” with which he enriched churches in Modena, Ferrara, Cremona and Naples. No. 10 VIRGIN AND CHILD pe ANDREA PISANO (?) ANDREA PISANO (?) Pisan: 1270—1345 10—VIRGIN AND CHILD (MarsLe STATUETTE) Height, 33 inches Lovey figure of the Madonna, its marble-toned ivory yellowed by time, wearing a voluminous cloak, the folds of which are caught up by the left arm, supports the Child Jesus, her right hand holding His feet. Her figure curves slghtly backward, a touch of the Gothic influence on Andrea’s art. No. 11 CHRIST CHILD BLESSING ATTRIBUTED TO NICOLA PISANO NICOLA PISANO (CArrrizscvtep To) Pisan: XIII Crenrury 11I—CHRIST CHILD BLESSING (Marsie) Height, 21 inches FULL-Bopiep figure draped from below the chest with the feet tightly pressed together, the right hand raised as in bestowing a benediction, the left forearm and hand across the waist. The hair is colored and the partly open mantle shows an underrobe of cloth of gold. This statuette of the Christ Child, it is reasonable to suggest, was origi- nally designed for an orphan asylum. “This little figure of the Christ-Child is the work of an anonymous sculp- tor of the direct following of Nicola Pisano.”—F. Mason PeErxins. ” hia a q n { Lae ay i No.7 1L2 PORTRAIT OF A BOY Bia DESIDERIO DA SETTIGNANO DESIDERIO DA SETTIGNANO FLORENTINE: 1457—1485 12—PORTRAIT OF A BOY (Marsie Bust) Height, 101% inches Bust of a little curly-haired boy, the marble with lovely, soft yellow patine. The head is bent slightly toward the left shoulder and down- ward. A drapery extends from beneath the left armpit across and over the right shoulder. “Florentine sculpture of the Renaissance produced quite a large number of marble portrait busts, several of which are from the hand of Desiderio da Settignano. Busts which might be compared with this example are those in the Benda Collection, Vienna, and in the Dreyfus Collection, Paris.”—Dnr. Raymonp von Marte. ‘ ‘ } \ x * e = o 9 aw i> ae = , aa : ~ hierar: ; g a sat 7 hn : rs Y " Lin ASAE Eh | SS eee ae — cy i. a 4 al bat ‘L¢- = ies Ww >> : x a 5 No. 13 MADONNA AND CHILD MANNER OF DONATELLO os. a : wn ae DONATELLO (Manner OF) FLORENTINE: XV CENTURY 13—MADONNA AND CHILD (Marsre Bas-RELIEF) Height, 211% inches; width, 16 inches In a shallow recessed panel the Virgin is shown in half-length at the left of the spectator and supporting the Christ Child on her left hand and forearm. She wears a veil-like headdress and a tight- sleeved gown, the neck of which is ornamented with a broad pointed border. 'The bas-relief is enclosed in a blue and gold Renaissance tabernacle frame. “In the composition, as well as in the execution, this piece of sculpture is very reminiscent of Donatello’s Madonna dei Pazzi in the Museum of Berlin, but it is of a later date. On account of certain differences, however, it can- not be considered a replica.”—Dr. Raymonp von Marte. From the Robinson Collection, London. i No. 14 ST. JOHN BY DONATELLO (?) Se rae oy - ae DONATELLO (?) FLORENTINE: 1836—1466 14—ST. JOHN (Marsite Bust) Height, 19 inches Turis almost half-length representation of St. John suggests him as a man worn by suffering in the piteous face and the long and slender hands. The head is bent slightly to his right, the sightless eyes look upward and the right hand with bent forefinger rests on his breast. A skin-like garment partly covers shoulders and breast. ‘The marble, formerly polychromed, has a superb brownish patine. ‘From the hand of Donatello we possess several statues of the Baptist; among them might be cited those in the Cathedral of Siena, in the Bargello and that in the Martelli Collection.. They are all works of different periods in the artist’s career and show St. John at different ages and under quite differ- ent aspects. The half-length figure under discussion is different from any of the foregoing works. The style points to a late stage in the artist’s develop- ment. The elegance of proportion, the elongated shape of the hand and the pathos of expression are reminiscent of Donatello’s figure of the Magdalene in the Baptistery, Florence, which dates from about 1457.”—Dr. Raymonp von Marte. From the Marquis de Mendoza Collection, Naples. hae i PEALIAN PAINTINGS OF THE XIII TO XVI CEN TUR Y RUSSIAN (NOVGOROD) SCHOOL XV CENTURY 15—THE MADONNA AND CHILD ENTHRONED BETWEEN TWO SAINTS (Pane) Height, 17 inches; width, 141% inches SEATED on a scarlet cushion placed on a carved chest the Madonna wears a dark red and gold cloak and hood, the Child attired in a golden robe. The two saints stand on either side behind the Virgin in red and yellow costumes, St. Nicholas being identified at the left by his name, which appears above his right shoulder. The panel is enclosed in an antique red, green and gold frame with an uncommon ornamental design. “Among the different divisions of Byzantine art the Russian is the most pictorial, and of the Russian schools of painting that of Novgorod approaches most closely the Italian Trecento. The style, however, is that of the Byzantine mosaics of earlier centuries, the Madonna in question bearing a strong resem- blance to the figure in the apse of S. Giusto in Trieste.”—Dr. Raymonp von Marte, ANTONIO CANALETTO VENETIAN: 1697—1768 16—VIEW OF THE RIVA DEGLI SCHIAVONI (Canvas) Height, 28 inches; length, 331% inches As a panorama spread under a characteristic pale Venetian sky ap- pears a broad canal, on the calm surface of which move gondolas and fishing boats, while on the farther shore the spectator sees various craft, people, the Doge’s Palace and other buildings, with St. Mark’s in the background. V. CARPACCIO (?) VENETIAN: Circa 1450—1522 17—DREAM OF ST. ANTHONY (Pane) Height, 8 inches; length, 1134 inches In a gray-walled luminous room, empty of furniture save the bed on which the holy man lies, are two figures in blue and crimson and yel- low and scarlet at the right within an arched doorway; behind them two other figures are seen in the entrance through the reaward wall. Note: “Many experts,” writes Professor Paolini, “have attributed this delightful little picture to Carpaccio. Whatever the opinion as to the author- ship may be, it is certain that on account of the coloring and its particular charm it constitutes a fine example of the Venetian school of the fifteenth century.” elt bx ; , FRANCESCO DEL COSSA (?) FERRARA SCHOOL: XV CENTURY 18—CRUCIFIXION OF CHRIST BETWEEN ST. ANTHONY AND ST. ANSANO (Pane) Height, 1314 mches; width, 814 inches AGAINST a gold background a black cross stands with its burden of the crucified Christ, the figure notable for its warm flesh tints. The saint at the left wears a military uniform of blue and white surcoat with a red Crusader’s cross, red tights and yellow shoes, while the one on the right is in the garb of a pilgrim, his cloak of yellow, his shoes scarlet. In an antique molded frame. SANO DI PIETRO SIENESE ScHoot: XV CEnTURY 19—EPISODES IN THE LIFE OF CHRIST (Two Panets) Each: Height, 19 inches; width, 1214 inches Or the four episodes presented here by Sano di Petro the Flagellation and the Ascent to Cavalry are on one panel in pale flesh tones, while on the other he has pictured the Agony in the Garden and the Flagellation, on a greenish background. FRANCESCO DI GIORGIO SIENESE ScHOOL: XV CENTURY 20—THE MIRACLE (PaneEL From ALTAR STOOL) Height, 1084 inches; length, 15 inches In an apartment of interesting architectural features with walls in gray and green tones the central figure of the episode pictured sits against a red and gold drapery, the group attending him at the right of the panel being in costumes of old-rose, mauve, red and olive-green, while the kneeling figure and the group at the left are in festive garments of cloth of gold. Note: This panel from an altar stool presents a close analogy with one in the Gallery of Siena. JACOPO BELLINI (Manner Or) VENETIAN: XV CENTURY 21-M ADONNA AND CHILD (PANEL) Height, 181 inches; width, 1414 inches Agcarnst a background of gold the Virgin is at the right of the panel in a green and gold cloak and hood, the Child Jesus standing at the left clad in a gold and green robe with golden ornaments such as recall, Professor Paolini notes, those.in the museum of Poldi-Pozzoli of Milan. No. 22 PORTRAIT SKETCH OF LADY LOUISA MANNERS BY JOHN HOPPNER JOHN HOPPNER ENGLISH: 1759—1810 22—PORTRAIT SKETCH OF LADY LOUISA MANNERS (Canvas) Height, 17 inches; width, 13% inches Tuts is a study for a portrait of Lady Louisa Manners, who is seen in three-quarters length wearing a peasant costume of purple, yellow and white. From the Collection of the Marchioness Alfani Fiorenzi, Perugia. EE SF A ES nd a & * Fae a Ne * a = ie + ” a No. 25 THE ANNUNCIATION OF THE VENETO-BYZANTINE SCHOOL VENETO-BYZANTINE SCHOOL END OF THE XIV CENTURY 23—THE ANNUNCIATION (PaneEt) Height, 201% wmches; width, 18 inches THE two figures are kneeling on the platform of a parapet with a gray wall and a deep blue sky behind them. The angel is in blue and gold and the Virgin in blue and crimson. Angels float in the heavens, and out of a semicircular design in the upper center of the panel God the Father looks down on the scene, His hand raised in benediction. In an antique frame, molded. “This panel shows the intermingling of Byzantine and Italian elements which took place in Venetian art from the middle of the fourteenth century onward. Here the technique is still Byzantine but the spirit and iconography are Western.”—Dr. RaymMonp von Marte. i No. 24 SCENE FROM ANCIENT HISTORY BY ANDREA MANTEGNA anp LUCA FANCELLI ANDREA MANTEGNA ann LUCA FANCELLI 1431—1506 VICENZA 1430—1495 24—SCENE FROM ANCIENT HISTORY (Cassone Panex, Pasticiuia, HicH-RELIEF) Height, 21 inches; length, 30 inches BrroreE a castle suggesting Oriental influences in its architecture a group of men emerge from its portal to be halted by a wand-bearing messenger of the military force at the right of the composition who may have been laying siege to the castle. Mounted soldiers with lances are behind this group, with their ornate tents further back, while between camp and castle there is a view of landscape and an arm of the sea. “Notwithstanding the transformation which the design must have under- gone when reproduced in relief, the Mantegnesques elements are still very obvious in the attitudes, proportions and style. Similar cassone panels in relief, which were executed for Paolo Conzaga by A. Mantegna and Fancelli, are preserved in the Rudolf Museum at Klagenfurt.”—Dr. Raymonp von Marte. ke Re, Sa a A hei we ae A, tT tail oe i ; Z “ ne in ec Ceres RR eS ps ee a See a te - » P pa’ , with | vee gs ab ke ’ ’ , t - ‘ 2 i = ~ e 2 - i a FILIPPINO LIPPI FLORENTINE: 1457-1504 25—THE ANNUNCIATION (Tonvo: Pane) Diameter, 2234 inches In a typical Florentine room of the fifteenth century the Virgin in crimson and green robes kneels on a low platform, on the base of which appears the salutation, “Ave Maria Gratia Dominus Tecum.” The Angel of the Annunciation kneels opposite her in a red and yellow costume with high-heeled black shoes and greenish wings. A reading desk with an open book is at the Virgin’s right and behind her crimson curtains and a bed. In technique and color the figures strongly resemble the two angels by this master formerly in the Stroganoff Collection in Rome. From the Collection of Dr. Loeser, Florence, Italy. DEI CROCIFISSI (SIMONE DA BOLOGNA) BoLoGnese: ACTIVE, 1370-1377 26—THH CRUCIFIXION (Trietycu: Pane) Height, 261, inches; width (open), 20 inches AROUND this very tragic Christ hanging on the cross the painter has placed an animated group of flying angels, men on horseback and the conventional figures of the Marys and others below, the bril- iantly varied color scheme adding much to this feeling of movement. The panel on the left shows the Angel of the Annunciation, St. Jerome and a bishop, while that on the right contains the kneeling Virgin of the Annunciation, St. John and a second bishop. The pointed tops of the center panel and wings are ornamented with carved and gilded palmettes in the manner of crockets. Below the center panel is a Renaissance base with the legend, “Ecce Agnus Dei Qui Tollis,” and with painted shields on either side. “I cannot recall another portable triptych by this master and it may have been the type and size of the picture that forced him to employ a more minute and finer technique than usual.”—Dr. Raymonp von Marte. sD INR gy er diteacinithuacs cer edema: en en “ ALVISE VIVARINI Murano ScHoou: XV CENTURY 27--MADONNA AND CHILD (PaneEx) Height, 1914 inches; width, 1584 inches In a cloth of gold gown over which she wears a deep blue cloak and hood lined with crimson and with a pale green halo, the Virgin stands against a green fabric panel suspended from an arched window frame behind her through which is seen a greenish-white sky. The Child, in a green tunic, holds cherries in both hands. “Undoubtedly this Madonna is the work of Alvise Vivarini.”—Pror. G. De Nicora, Director of the Bargello Museum, Florence. GIORGIO SCHIAVONE Z Papuan: ACTIVE ABOUT 1440—1470 283—VIRGIN NURSING THE CHILD (PaneEL ) Height, 161% inches; width, 1214, inches THE blond Virgin in a gown of old-rose with pear] and gold orna- ments and deep blue mantle with gold border stands against a gold background between two square columns of a balcony, the railing of which cuts across her figure above the knees. The nude Child nurses at the right breast, supported by her right hand. “The influence of Pisanello in this picture is conspicuous as well as are the particular characteristics of Schiavone. Notable is the beauty and the enamel of the color and its excellent preservation.”—Dr. Raymonp von Marte. ant pu’ } : t Biba ae act uy BARONZIO DA RIMINI (?) RIMINESE ScHoou: First Harr XIV Century 29—BETRAYAL OF JUDAS, CALVARY, DEATH OF THE VIRGIN (PaneEL) Height, 2334 inches; width, 12 inches AN upright panel divided laterally into three scenes against a gold background. The Death of the Virgin is shown in the lower division, the road to Calvary in the middle one, and the Betrayal of Judas in the upper division. “The division of the panel into small compartments and the garments threaded with gold are very characteristic of the early Riminese school, but the elements that the principal painters in this town at the beginning of the fourteenth century borrowed from Cavallini are absent, and in style the panel shows a closer connection with the productions of the school of Bologna.”— Dr. Raymonp von Marte. GIOVANNI BELLINI CBorreca OF) VENETIAN ScHOOL: XV CENTURY 30—MADONNA AND CHILD (Pane, SicNED) Height, 2634 inches; width, 21 inches STANDING in front of a stone balcony railing and an olive-green drapery which cuts off part of the view of a mountain landscape, the Virgin looks downward at the sleeping Child, who lies against two white cushions on a balustrade covered with crimson cloth. Over a wine-red dress the Madonna wears an orange-lined green cloak and a white hood. On the crimson cloth hanging over the balustrade appears the signature: Ioannes Bellinvs, P. “In spite of some discord in style this Madonna is particularly interest- ing because it certainly reproduces a cartoon of the master. The fact that it is signed authorizes us to say that it is from the master’s workshop, having something of his own hand.”—Dr. Gronav, Director of the Pinakothek, Cassel. GIOVANNI DA PONTE FLORENTINE: 13806—1365 31—PORTRAITS OF THE POETS GIOVANNI BOCCACCIO AND MARSILIO FICINO (PANEL) Height, 18 inches; width, 17 mches STANDING figures of the two Italian poets, Giovanni Boccaccio and Marsilio Ficino. The one at the left wears a gray cloak and hood lined with scarlet, while the figure at the right is in an overgarment of olive hue lined with crimson and wears a crimson and gray head- dress typical of the period. He holds a long scroll in his left hand, “These two figures are portraits of the poets Giovanni Boccaccio and Marsilio Ficino and are, no doubt, part of a once larger work. They are by Giovanni da Marco (Giovanni da Ponte) of Florence.”—F. Mason Prrxins. “They formed a part, undoubtedly, with other figures of the frontal deco- ration of a chest painted by the same artist existing in the André Museum in Paris.”—Pror. G. Dre Nicoxa, Director of the Bargello Museum, Florence. Note: Two other portraits, one representing Dante, belonging to the same chest are at the Fogg Museum, Cambridge, Mass. ANDREA DI BARTOLO (?) SIENESE SCHOOL: XV CENTURY 32—M ADONNA AND CHILD (PanEL) Height, 3814 imches; width, 1745 inches Tue Virgin, presented in half-length, wears a deep blue-green cloak with a gold floral pattern and a crimson gown. She supports the Child on her right forearm, His foot supported by her left hand. His robe is of old-rose and gold and on His left hand He holds a bird with outstretched wings before His Mother’s bosom. In a pointed molded frame with Gothic character of ornamentation. “This panel is by an anonymous Sienese painter of the end of the fif- teenth century not far removed in style from Martino di Bartolommeo and Andrea di Bartolo.”—F. Mason PrErkins. Ae ts 4 ‘ J ay ‘ f ek. he ~ MOD Aig nee Bed nae one are ae Kee hat cin wet Del No. 33 THE ANNUNCIATION AND CRUCIFIXION OF THE FLORENTINE SCHOOL FLORENTINE SCHOOL ENp oF XIV CENTURY 338—THE ANNUNCIATION AND CRUCIFIXION (PanEL ) Height, 32 inches; width, 24 inches THE oval-topped panel is divided into two parts, the scene of the ' Annunciation occupying the lower division and the Crucifixion the upper. In the latter Mary Magdalene is kneeling at the foot of the cross, with Mary, St. Catherine and two saints on either side. “Tt is sufficient to observe the Annunciation, derived from the oft-repeated Annunciation of the church of the Servi, to recognize the Florentine picture. But in the old works each figure bears the impress of the naturalistic school which began to flourish in Florence towards the close of the fourteenth century. The painter thus shows himself to be a contemporary of the so-called Master of the Lively Child and Rosello Franchi.”—Pror. G. Dr Nicoxa, Director of the Bargello Museum, Florence. I Sia A No. 34 ST. JEROME AT HIS DESK BY GUARIENTO No. 35 THE ANNUNCIATION AND NATIVITY BY ANDREA VANNI GUARIENTO Papuan: Diep 1378 34—ST. JEROME AT HIS DESK (PaneEL) Height, 36 inches; width, 2014 inches WEARING a scarlet robe, the saint sits at a reading desk before a simu- lation of his cell. On the wainscoted wall is a crucifix and on the floor a broad-brimmed scarlet hat and his traditional lion. “The art of Guariento—whom we know through the panels from the ceil- ing of the Palace of the Capitano del Popolo, now in the Museum of Padua, and the fresco in the Palace of the Doges in Venice—was obviously the out- come of two currents: Giottesque art, a knowledge of which he must have gained from Giotto’s presence in the Arena chapel and a slight Byzantine influence from the neighboring city of Lagannis. These two elements are obvious in the picture of St. Jerome, a comparison of whose features with those of the “Celestial Hierarchie” at Padua help to confirm the attribution of this painting to Guariento.”—Dr. Raymonp von Marte. ANDREA VANNI SIENESE: Circa 1333—1414 35—THE ANNUNCIATION AND NATIVITY (PaneEt) Height, 44 inches; width, 24 inches A POINTED panel in which the rectangular lower portion is filled with a representation of the Annunciation, the figures shown against walls of gray and black tones and separated by a slender red column. In the pointed space above is the scene of the Nativity in reddish, black and yellow tones. “Andrea Vanni, aside from his fame as a painter, was also very well known on account of the missions with which he was entrusted by the Siena govern- ment. ‘The Nativity is new in composition, but the Annunciation has been re- peated other times by Vanni with such great similarity that this work is readily attributed to him. One of his Annunciations is, for example, in the Fogg Mu- seum.”—Pror. G, De Nicoxa, Director of the Bargello Museum, Florence. uSaq, SIf[ LV awouse “1G—pPE “ON ALIAILVN GNV NOLLVIONONNY GZHT—GE “ON MAGDALENE Z a) s = H aS ro) A < Ll N — oH H 4 cal g > WwW TITIAN (VECELLI TIZIANO) VENETIAN: Circa 1489—1576 36—_M AGDALENE (Canvas) Height, 34 inches; width, 281, inches SHown in half-length with the body turned partly toward its left, while the head is bent over the right shoulder, the large luminous eves looking downward in that direction. The thick hair of the Magdalene flows over the right shoulder and breast, a tress falling over the right forearm as she holds her large fine hands in an atti- tude of prayer. She wears a white chemise, revealing her throat and bosom, the arms being bare. There is a dark green background except at the upper right of the canvas, where a patch of blue sky shows. 'The picture is mentioned in an art guide of 1732 as belong- ing to the first style of the master. From the Cardinal Filomarino Collection, Naples. rem yn ty tee ea er tp Cpe ty ters Wie te ee ear a emt Oper a owes ent at . : : 2 za8 * i Se FA ae No. 37 ee | | GOOD GOVERNMENT BY GIOVANNI DEL BIONDO (?) : - a a , 2 Pe Te we if mA GIOVANNI DEL BIONDO (?) FLORENTINE: XIV CrEentTurRY 37—GOOD GOV ERNMENT (Cassone Front, Panet) Height, 2014 inches; length, 5334 inches THE symbolical figure of Good Government in the center of the panel is seated in a chariot-like structure with a galleon and a city behind her on either hand. To right and left are numerous figures of gods and nobles on horseback, those toward the center holding the circular painting on which the symbolical figure is represented. In- distinct antique gilt lettering appears along the upper edge of the panel, which is enclosed in a gilt and polychrome frame. “Although ascribed by its former owners to the Sienese school of the Trecento, this cassone-front is clearly the work of a Florentine painter of the middle of the fourteenth century. Its brilliant coloring, its excellent state of preservation and the rather unusual treatment of the subject combine to make it a particularly effective and interesting example of its kind.”—F. Mason PERKINS. From the Lanton Douglas Collection, London. a) Pu Le ~~ pone et , v bh mice : ie ey eee et ’ BS trae sana RE | ae SE ye Retake a ae aes a) 7 > a d | i | No. 38 MADONNA AND CHILD BETWEEN ST. PETER AND ST. PAUL BY GIROLAMO DI BENVENUTO GIROLAMO DI BENVENUTO SIENESE: 1470—1524 388—MADONNA AND CHILD BETWEEN ST. PETER AND ST. PAUL (PaneEt) Height, 21 inches; width, 161% inches Wearinc a hooded cloak of deep blue lined with green this plump- faced Madonna is shown in half-length seated with the Child, nude save for a diaphanous veil, in her lap. He holds a bird in His left hand against his waist, while with His right hand He reaches out to touch the ends of the great steel and golden keys St. Peter carries over his shoulder, reaching their ends to the Infant Saviour. St. Peter stands behind the Virgin’s right shoulder, while St. Paul, bearing a steel and gold sword, is behind her left shoulder. The background is golden. “This panel painting of the Madonna and Child with SS. Peter and Paul is an unquestionable and well preserved work of Girolamo di Benvenuto of Siena.”—F. Mason Perkins. “In view of the fact that this particular work was executed in the middle of his career . . . it may be considered one of the most characteristic works of this master and also one of the best.”—-Pror. G. Dr Nicoxa, Director of the Bargello Museum, Florence. From the Fornari Collection, Fabriano. PEP 4 “ oe Sr ae § wane 53> ’ = No. 39 EPISODES IN THE LIFE OF ST. GIROLAMO BY BARTOLOMMEO DI GIOVANNI BARTOLOMMEO DI GIOVANNI FLORENTINE: XV CENTURY 39—EPISODES IN THE LIFE OF ST. GIROLAMO (THREE Panets From A PREDELLA) Height, 624 inches; length, 43 inches TueEseE colorful little panels from a predella show in order from right to left the Miracle of the Lion, the Apparition in the Room, and the Funeral of the Saint. The lion and the monks are in tones of deep gray; rose-red and green are the dominant notes in the Apparition panel; and rose and black are the principal hues in the funeral scene. “Recalling the artistic nobility of this painter, one is easily convinced that these three panels are his work. There is a good comparison in style in the “Communion of St. Girolamo” belonging to the Johnson collection at Phila- delphia which Berenson rightly attributes to this painter.”—Pror. G. Dr Nicoxa, Director of the Bargello Museum, Florence. mt; Anite 4 ey «Fuh ee. No. 40 MADONNA ENTHRONED WITH SAINTS AND ANGELS BY SASSETTA (?) SASSETTA (?) SIENESE: MippLE or XV CENTURY 40—M ADONNA ENTHRONED WITH SAINTS AND ANGELS (Trietycn) Height, 1634 inches; width (open), 131% inches In the center panel of this triptych the Virgin is seated in a black cloak with white lining and golden borders on a golden and floral ornamented throne, the six adoring angels surrounding her being in red and black, their faces most expressive of their emotion. On the wing at the left St. Michael the Archangel stands in gold and red with a black cloak, with the Virgin of the Annunciation above. In the right wing appears St. Nicholas in red and gold, the announc- ing Angel above. The background is gold and the antique Gothic frame of gilt has its points ornamented with crockets, four of which are missing. “This picture has been executed in Sassetta’s immediate surroundings and reproduces his early manner. The archangel as well as the principal figure has many striking points in common with the figures of Sassetta’s altar- piece in St. Domenic, Cortona, while that of St. Nicholas resembles two of the four Doctors of the Church in the Gallery of Siena.”—Dr. Raymonp von Marte. “It has the charm of the paintings of Sassetta and it is only a slight dif- ference in the types and proportions of the body which prevents it being attrib- uted to him. It is clear, nevertheless, that the painter worked under the guid- ance and cooperation of the master himself.”—Pror. G. De Nicoxa, Director of the Bargello Museum, Florence. rn No. 41 MADONNA AND CHILD BY VIGOROSO DA SIENA VIGOROSO DA SIENA SIENESE: ACTIVE 1276—1292 41—MADONNA AND CHILD (Pane) Height, 201% inches; width, 1534 wmches THe Madonna with bent head in great black hood and cloak that has golden ornamentation holds the Child in red and gold against her right breast, her left hand on her bosom, the background being of gold. “From the hand of Vigoroso da Siena we possess but one authentic work, a polytych in the gallery of Perugia showing the signature of the artist and a date probably of 1283. Although it may appear a little daring to ascribe this painting to an artist of whose works only one has come down to us, neverthe- less, the attribution seems unquestionable and this picture shows Vigoroso in a more favorable light than his polytych in the gallery of Perugia. It should be kept in mind, however, that the latter has suffered considerably. Comparing it with this panel we can see that the curious effects of light and shade which give a particular interest and almost modern impressionistic appearance to this picture must have existed in the signed work.”—-Dr. RayMonp von Marte. “Since so little is known about Vigoroso, the attribution of this painting to him is not absolutely sure; nevertheless, the relations between this work and the painting in the Perugia gallery are sufficiently close.”—Pror. G. Dr Nicota, Director of the Bargello Museum, Florence. SDS. CO el by digs Tata MO a ere (Rt eae ii BY Mad sl ai No. 42 PORTRAIT OF A YOUNG MAN BY FILIPPINO LIPPI FILIPPINO LIPPI FLORENTINE: 1457—1504 42—PORTRAIT OF A YOUNG MAN (On Trrra-corra PaneEL) Height, 21 inches; width, 13 inches AGAINST a green background is placed the head and shoulders of a grave-faced young man with stringy brown hair flowing down from under a black cap. The head faces the spectator, but the eyes are looking toward the man’s right as if at something of keen interest. His black tunic is relieved by a white linen neckband. The terra- cotta panel is enclosed in an antique molded frame. Note: 'This portrait is painted on a terra-cotta tile but with the same technical method as on a panel; that is to say, first the preparation and then the color. Consequently it must not be confused with a fresco, which is a totally different thing. Filippino Lippi frequently employed this peculiar method; in the Torrigiani collection at Florence a similar portrait is to be found. “This painting was done while still under the influence of his master, San- dro Botticelli, consequently in the earlier part of his career. It may be con- temporary with the four men in the fresco of the Raising of the King’s Son and other figures in the Brancacci chapel in the Carmine church, Florence, which Filippino painted in 1484.”—Dr. Raymond von Marte. 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Z ; " _ | | No. 43 PORTRAIT OF A MAN TUNING A LUTE BY GIORGIONE (?) GIORGIONE (?) VENETIAN: 1478—1510 43—PORTRAIT OF A MAN TUNING A LUTE (Canvas) Height, 174% inches; width, 1334 inches THE head and shoulders of the subject are shown as he holds his lute against his left breast to tune it. He wears a green coat with scarlet lining and a pleated white shirt. The flesh tones have a note of olive and the modeling of the head and hands is notably fine. Note: An old copy of this picture exists in the storeroom of the Vienna Museum on the back of which is the following inscription: “Da un retrato de Zorzi’’ (from a picture by Giorgione). “This picture is reminiscent of Giorgione’s early works in particular such, for example, as the Trial of Moses in the Uffizi, the Allegorical Scenes in the National Gallery and the Portrait of a Man in the Gallery of Berlin.”— Dr. Raymonp von Marte. » “S No. 44 MADONNA AND CHILD BY MATTEO DI GIOVANNI MATTEO DI GIOVANNI SIENESE: 1435—1495 44--M A DONNA AND CHILD (PANEL) Height, 19 inches; width, 1334 inches THe Virgin Mary is shown in half-length in a red and gold gown with broad gold bands at collar and cuffs over which she wears a deep blue hooded cloak edged with gold. She holds the Infant Saviour in her lap supported by her right arm, both her hands hold- ing a slight drapery around His otherwise nude body. The back- ground is gold and the whole is enclosed in an antique molded gilt frame. “This painting of the Madonna and Child is a certain work by Matteo di Giovanni, a perfectly genuine production of the master.”—F. Mason Perkins. “The type of Virgin corresponds fairly closely to that of the famous Santa Barbara in San Domenico di Siena. The picture must be considered as belonging to the 1480 period.”—Pror. G. Dr Nicoxa, Director of the Bargello Museum, Florence. K & e 4 i = 4 Secon stating inigasdaeshcanerssnry Ree ‘ cae a Gone AE i ¥ z Ct a al ta fh ma Rd AlN Alii alte hice eA No. 45 MADONNA AND CHILD BETWEEN TWO ANGELIC MUSICIANS BY ANDREA MANTEGNA ANDREA MANTEGNA PaAaDUAN: 1431—1506 45--—M ADONNA AND CHILD BETWEEN TWO ANGELIC MUSICIANS (PanEL) Height, 20 inches; width, 16 inches THE Madonna in a lustrous green and gold robe sits on a balcony rail- ing holding the nude Child against her right side as He stands on the railing. To right and left are two nude angelic musicians and behind the group is a glowing blue sky. Contemporary Mantuan carved frame of exceptional interest. “The picture reflects Andrea’s later manner. The finest and most char- acteristic of his later group of Madonnas is the painting now in the Brera which possibly can be identified with that executed in 1485 for Eleanora, Duchess of Ferrara. The figures are here surrounded by cherubim. To the same group belong the half-length figures of the Madonna and Child in the galleries of Dresden and Verona, and also the Madonna ‘Della Vittoria,’ executed in 1495 for the Marquis Francesco of Mantua now in the Louvre.” — Dr. Raymonp von Marte. “~ No. 46 MADONNA WITH CHILD AND ST. JOSEPH BY BASTIANO MAINARDI BASTIANO MAINARDI FLORENTINE: Earty XVI Crentury 46—M ADONNA WITH CHILD AND ST. JOSEPH (PANEL) Height, 36 inches; width, 3234 imches AGAINST a lovely blue sky, a line of cliffs and some trees at the ex- treme right of the panel, stands the Virgin holding the nude Child in her lap, St. Joseph being at the left of the picture. This youthful and tenderly human Madonna wears a gown of crimson and gold with a dark green cloak over her left shoulder and on her reddish- blond hair is a cap of old-rose. St. Joseph carries a staff atop of which is perched a dove. “T have queried this attribution because of one or two slight differences that this panel shows when we compare it with others of the master’s works. A comparison with the tondo in the Louvre, however, which depicts the Ma- donna with the Child, the Infant St. John and angels more than strengthens this attribution. The figure of St. Joseph, on the other hand, shows an influ- ence of Filippino Lippi.”—Dr. Raymonp von Marte. a arte x xf 4 yay af t 4 abn 3 No. 47 MADONNA, CHILD AND ANGELS BY JACOPO DEL CASENTINO JACOPO DEL CASENTINO FLORENTINE: XIV CENTURY 47—_M A DONNA, CHILD AND ANGELS (PaneEt) Height, 39 inches; width, 26 inches Tue Madonna stands in half-length in the center of the panel sup- porting the Child against her left side. She wears a dark green hooded cloak and has wrapped a crimson drapery around the Child, who wears a string of coral beads and a pendant around His neck. Behind these figures two angels are seen holding a red and gold drapery. In antique molded gilt frame. “Of the paintings so justly adjudged to the authorship of Jacopo del Casentino, in the recent study of Dr. R. Offner in the Art Bulletin, this work is assuredly one of the most convincing.”—Pror. G. Dr Nicota, Director of the Bargello Museum, Florence. = ° 5 H S MN 5 a i S o _ —_ aie A > < Z Fe 5 C s < ANDREA DI GIUSTO FLORENTINE: 1440—1498 48—MADONNA AND CHILD (PANEL) Height, 34 inches; width, 17 inches WITHIN an elaborately carved antique frame with a Gothic arch springing from columns on either side the Madonna sits on a cushioned bench with a drapery of red and gold fabric, a golden background above. She wears a deep blue cloak over a red gown, holding the Infant Saviour on her lap supported by her left arm. The Child is nude save for a white drapery around His lions. On the base of the frame appears the salutation: “Ave Maria Gratia Plena,” between two shields. “The general acceptance of the attribution to Andrea di Giusto of the polytych in the Gallery of Prato induces me to accredit the same artist with this panel. A Madonna holding the Child standing on her knee enthroned be- — tween two angels in the Accademia of Florence forms the link between these two works. In both paintings of the Virgin Fra Angelico’s influence is unu- sually marked. The features of the Madonna under discussion as well as the drawing of the hand even reveal a knowledge of the art of Piero della -Francesca, a reason for which we have to place this panel in the later years of the artist’s life."-—Dr. Raymonp von Marte. No. 49 MADONNA AND CHILD i BY LORENZO DI NICCOLO GERINI LORENZO DI NICCOLO GERINI FLORENTINE: ACTIVE IN EARLY XV CENTURY 49—_MADONNA AND CHILD (PanEL) Height, 571% inches; width, 31 inches In a marvelous blue hooded cloak dotted with tiny gold decorations and with a golden border, this over a gown of palest rose, the Virgin is seated holding the Child on her left knee supported by her left arm and hand. The Child, swathed from the chest down in pale rose cloth, holds a rose against His Mother’s breast. The background is worn gold and the whole is enclosed in a pointed frame with twisted columns and floral carvings above the pointed arch. “The feeling of the work and Gothicism of the drapery force us to asso- ciate this painting with the Coronation of the Virgin in the church of Santa Croce, Florence, and ascribe it to about the same or a slightly later period. The panel in Santa Croce dates from 1408.”—Dr. Raymonp von Marte. & 18 ee > ar 1 an Lt a vacngubetennedee sian eae No. 50 MADONNA, CHILD AND SAINT By) GIOVANNI BATTISTA CIMA DA CONEGLIANO GIOVANNI BATTISTA CIMA DA CONEGLIANO VENETIAN: 1460—1517 50—MADONNA, CHILD AND SAINT (PANEL) Height, 1914 inches; length, 2734 inches On a balcony overlooking a hilly landscape above which white clouds float in the blue sky, the Virgin is seated before a curtain at the left holding the nude Christ Child, who sits on the window ledge on a fold of the curtain. The Virgin wears a yellow scarf over a white cap, a crimson waist, green skirt and maroon cloak. ‘The Child holds His hand as if blessing St. Girolamo, a white-bearded figure in a richly embroidered cloak at the right of the panel. “JT am of the opinion that the picture assuredly is a highly important work of Giovanni Battista Cima da Conegliano. The warm and rich coloring, as also the clear, strong and decisive plasticity of form, are markedly charac- teristic of Giovanni Battista Cima; furthermore, the manner in which every detail has been handled unmistakably reveals the hand of this master.”—Pror. Dr. WitHEeLmM Suma, Vienna. “The strong relief, the more spontaneous technique, would suggest plac- ing this painting at the latter period of the painter’s activity. A convincing comparison may be made with the Madonna in the Berlin Museum (No. 17 of Posse’s catalogue).”—Pror. G. Dr Nicota, Director of the Bargello Museum, Florence. From the Esterhazy Collection, Vienna. wee ve i + coe te, “ Ls LORENZO LOTTO z = > g : : S 5 he , na ‘- ; a Ligiaia@ + os s+ ait : vact PBit uit eer ra LORENZO LOTTO VENETIAN: 1480—1556 5I—-SACRED CONVERSATION (PanEL, SIGNED) Height, 441% inches; width, 2534 inches Ow an ornate throne the Virgin in orange and blue sits as if in conver- sation with the saint below on her right, while she controls the strug- gling Child with her left hand and arm. ~ Below the throne two tiny nude angels are spreading a green cloth across the base, while on either side of it appears a numerous group of saints, as always in this type of composition. Above the Madonna’s head and against the arched roof of the corridor leading to the rear are two flying angels holding a crown, while in the gallery of the dome two winged angels are arranging draperies and ornaments. On the throne appears the signature, “L. Lotto, pinxit et inv.” “The painting is signed by Lorenzo Lotto on the base of the throne. But if it were not signed its authorship would be equally clear. Rarely has the painter exercised his imagination so exquisitely as in this picture.”—Pror, G. De Nicoxa, Director of the Bargello Museum, Florence. From the Ceresa Collection, Bergamo. No. 52 PORTRAIT OF VINCENZO APELLO, GENERAL OF THE VENETIAN REPUBLIC BY IL TINTORETTO (Jacopo Rosustt) IL TINTORETTO (JACOPO ROBUSTI) VENETIAN: Circa 1512—1594 52—PORTRAIT OF VINCENZO CAPPELLO, GENERAL OF THE VENETIAN REPUBLIC (Canvas) Height, 47 inches; width, 4114 inches Hatr-LencrH standing figure of a white-haired elderly man who looks eminently the soldier in his gleaming armor and crimson cloak, the helmet and red cord on the cabinet top at the right repeating these color notes. The General holds his baton of office against his hip with his right hand and in his left he clutches the end of his cloak. A pe pen ST ere ate ey merece No. 53 PORTRAIT OF A GENTLEMAN BY IL TINTORETTO (Jacoro Rosustt) IL TINTORETTO (JACOPO ROBUSTI) VENETIAN: 1512—1594 583—PORTRAIT OF A GENTLEMAN (Canvas) Height, 44 inches; width, 3614 inches SHOWN in three-quarters length seated in a wooden armchair, his body facing to the spectator’s left, the head turned partly toward the front, this brown-bearded man wears a cloak-like garment with bands of linen at wrists and throat. His right forearm rests on a red and gold table with writing materials on it, above which is looped a cur- tain, the left hand with a large jeweled ring on the little finger rest- ing on his thigh. The light is centered on the noble head, which, with its ruddy complexion, is gravely fine in expression. “Among the portraits by Tintoretto the one owned by Professor Paolini of Rome is interesting for the great attention given by the master to the accessories. ‘Tintoretto as a portraitist is more simple and more concentrated. The atmospheric feeling gives to this portrait a sympathetic, intimate tone while still remaining dignified..—Baron von Have. se tet peter ye eee MA we i gh nhc en end ohn ce ener ros > No. 54 MADONNA AND CHILD ENTHRONED WITH ANGELS BY MASOLINO DA PANICALE (?) (Tommaso pA CrisTororo Frnt) MASOLINO DA PANICALE (2?) (TOMMASO DA CRISTOFORO FINI) FLORENTINE: 1883-——1477 (7?) 54—M ADONNA AND CHILD ENTHRONED WITH ANGELS (PANEL) Height, 6 feet 4 inches; width, 2 feet 11 mches Two fair-haired angels hold a red damask panel behind the Virgin, who sits on its lower folds which drape her throne. ‘The Madonna wears a deep green robe lined with orange silk and a crimson gown. The Child, whom she holds against her right bosom, is in red and green. “The painter of this panel belongs to the generation of Andrea di Giusto, Jacopo dal Ponte and Bicci di Lorenzo. The flowing design of a late Gothic character reveals him to be, like many of his Florentine contemporaries, de- pendent on Lorenzo Monaco, while certain elements are reminiscent of the early works of Masolino.”—Dr. Raymonp von Marte. —— TE eT Q S s Q <2 ~ = a S 8 = BARTOLOMMEO MONTAGNA VICENZA: Diep 1528 55—-MADONNA AND CHILD (PANEL) Height, 2014 inches; width, 1634 inches Tue Child reclines on a draped balcony railing and against a cushion, while the Madonna leans over Him with hands folded across her breast in an adoring posture. Behind her is a curtain of ruby-red velvet disclosing a landscape on either side. The Infant wears a yellow tunic and white sash and the Virgin is in a rich green cloak and hood over a white veil that partly covers her throat. “The style of this painting more closely approximates to the early man- ner of Giovanni Bellini than we usually find to be the case in the works of Montagna, but if we compare it with the latter artist’s authentic works we notice so many points in common that we may very well suppose it to be one of his youthful productions.”—Dr. Raymonp von Marte. Ws No. 56 MADONNA AND CHILD BY ANTONIO VIVARINI aim et Rae a fi : ae eos é 7 i “Be je a Ti ‘ i - “fi PM irate a oP ke » ix oo wk J a coo nl be eeey | | = ata ut ANTONIO VIVARINI MuRANESE: ABouT 1425—1475 56—MADONNA AND CHILD (PaneEL) Height, 23 inches; width, 17% inches SEEN at half-length behind a balcony railing, the Virgin wears an olive-green hooded cloak lined with mauve, its gold-embroidered bor- der clasped at the bosom with a jeweled brooch. The nude Child stands on the railing at the Virgin’s right side, she holding a white and red drapery partly across His body. “This is an early work by Antonio Vivarini. It shows most points of resemblance to the Madonna which forms the center of the signed polytych, dating from 144. ., in the Cathedral of Parenzo.”—Dr. Raymonp von Marte. “There are so evident resemblances between this Madonna and the other who is in the middle of Antonio’s pclytych of the Duomo of Parenzo that we must suppose they are two works of the same time, about 1442.”—Pror. G. Der Nicota, Director of the Bargello Museum, Florence. a on iy Ws wv No. 57 MADONNA AND CHILD BY MAESTRO PAOLO DA VENEZIA MAESTRO PAOLO DA VENEZIA VENETIAN: ACTIVE 1833—1358 57—-MADONNA AND CHILD (PaneEt) Height, 191% inches; width, 1614 inches SEATED on a parapet in a deep blue cloak and hood over a red and green gown the typical “Madonna of Humility” holds the Child in her lap against her right breast. The background is ornamented with large eight-pointed stars, while above the arch terminating the golden ground appears the two figures of the Annunciation. In an ornate Renaissance frame. “The angel has fine Byzantine forcefulness and the general expression of the Madonna is full of sentiment. The painter of this delightful work is more than probably Maestro Paolo da Venezia, who worked between 1333 and 1358.”—Pror. G. Dr Nicota, Director of the Bargello Museum, Florence. eer 7 alee: Bie ree i, i { cl es. Ha, Std 5 ae No. 58 MADONNA WITH CHILD BY BUONAVENTURA ~—— s 7 ss . wd are oe = [ led J ? 7 SEGNA DI BUONAVENTURA SIENESE: Earty XIV Century 58--—MADONNA WITH CHILD (PaneEt) Height, 26 inches; width, 171% inches Tur Madonna with a long oval face looks downward toward the spec- tator. She wears a dark blue hooded cloak with a golden ornamental design on the right shoulder and a white veil. The Child is sup- ported on her left arm and is in a deep rose and gold robe, His right arm resting on His Mother’s shoulder. The interlacing of the two haloes makes a fine pattern against the gold background. “The composition is that usually found in the Duccio school, but the painting could be by Segna chiefly if one considers the type of Madonna in comparison with the Madonna of Norfolk (signed by Segna) purchased by the Metropolitan Museum.”—Pror. G. Dr Nicoxa, Director of the Bargello Museum, Florence. “Although slightly restored, this panel is the direct work of a pupil of Duccio di Buoninsegna and dates, in all probability, from the second decade of the Trecento.”—-F. Mason Prrxins. No. 59 MADONNA AND CHILD WITH TWO SAINTS SCHOOL OF DUCCIO ae poe DUCCIO (Scsoot OF) SIENESE: 1282—1820 59—-MADONNA AND CHILD WITH TWO SAINTS (TrirptycH PaneEt) Height, 3914 inches; length, 52%, mches DrivivEp into three double sections by Romanesque arches, this long panel with golden background shows the Virgin and Child in the lower center with two saints on right and left. In the pointed panel over the Madonna’s head appears God the Father giving His bene- diction, and in the two upper panels to right and left appear the Virgin and the Angel of the Annunciation. | “During the Duccio period the two saints are but slightly represented and the Madonna and Child form an unusual group along Duccio lines. And yet there is no doubt that the picture belongs to a pupil of Duccio.”—Pror. G. De Nicoua, Director of the Bargello Museum, Florence. “This triptych is a Sienese work by a nameless painter of the later Duc- ciesque school.”—-F. Mason PErkxins. ate” AN eae ga No. 60 VIRGIN ADORING CHILD JESUS, ST. JOSEPH AND TWO ANGELS BOTTEGA OF BOTTICELLI BOTTICELLI (Borreca OF) FLORENCE: XV CENTURY 60—VIRGIN ADORING CHILD JESUS, ST. JOSEPH AND TWO ANGELS (Tonvo, Canvas) Diameter, 601% inches Tuts composition is rather a Nativity, although some of the con- ventional features of that event are absent. There are deep tones of blue and rose in the Virgin’s gown as she adores the playful Child at the left of the painting, while the aged St. Joseph at the right wears a yellow robe over a blue undergarment. The two floating angels holding a crown over the Madonna and Child are typical of Botticelli, as is the lovely blue and white sky behind them. Note: 'The elder Landor, who formed the famous Savage Landor Turenne collection in Florence early in the nineteenth century, bought this canvas at Fiesole. Herbert Horne, the distinguished critic, maintained that this work was conceived by the master for the Fiesole Cathedral. As it was known that the picture had been completely painted over in 1700, it was held by many authorities to be a copy of one of Botticelli’s paintings that had disappeared. On cleaning the picture Professor Paolini discovered the picture had been transferred from a panel to canvas toward the end of the eighteenth century. In common with the authorities quoted below, Professor Paolini believes the work to be a collaboration between master and pupils as in the case of other Italian pictures toward the end of the fifteenth century. “This painting is clearly the work of the ‘bottega of Botticelli’? executed by a pupil on a design by the master himself. Of the many school pieces of its kind it is one of the best and most important.”—F. Mason PrErkxrns. “Although the composition is reversed, the three principal figures are the same as those in a drawing in the Uffizi. The arrangement of the figures is reminiscent of the central part of the picture in the National Gallery, but the attitudes here, that of St. Joseph in particular, show more resemblance to those in the drawing in Florence. The similarity to Botticelli’s authentic works is so marked in certain parts of this panel, such, for example, as the central figures, that it seems probable that the master himself took part in the execution of this picture.”—Dr. Raymonp von Marte. From the Walter Savage Landor Collection, Florence. wae 8 SI Q q x x Z S = CARLO CRIVELLI CARLO CRIVELLI VENETIAN: 1430—1494 61—_—MADONNA AND CHILD (PANEL) Height, 311% inches; width, 22% inches AN aristocratic type of Virgin is seated against a panel of dull red and gold with a festoon of fruits and flowers behind her haloed head. She wears a white veil, a rich blue cloak and hood lined with golden- yellow, ornamented with star-rayed designs in gold. The Christ Child sits squarely on her lap, is nude save for a waist-band and holds an apple on His left thigh. His halo is large and almost at right angles to the top of His head. The background is of gold drapery. “The absence of Gothic mannerism and calligraphic linear effects which characterize Carlo Crivelli’s later works, as well as the soberness of the orna- mental design of the Virgin’s cloak, makes it clear that we are here dealing with a production of the earlier part of the artist’s career. A work which shows much connection to this panel is the Madonna of 1470 in the Gallery of Macerata.”—Dr. Raymonp von Marte. = » u iN a S * w - si : ;.« i . : “5 td & “ ee Fe NG ams Let pert tr ee Ny ee er tee Se eae Teint ae cael ae se SG SO ile amen met TR eR EY Na tt me a ae ue LL RY tt Las serena ds Slee OT ee Sr Mennnte St tle Fae ICTR Gen Ul thee GG Se ane ns mIRC aie tine ae ane ed No. 62 MADONNA AND CHILD IN A MEADOW IN BLOOM BY GIOVANNI BOCCATI GIOVANNI BOCCATI UmBrRIAN: XV CENTURY 62—MADONNA AND CHILD IN A MEADOW IN BLOOM (PANEL) Height, 32 mches; width, 2234 wmches In a gorgeous costume of red, blue and gold this young Madonna sits in a blooming meadow with the nude Child in her lap, a string of red coral beads and an ornament of the same material around His neck. On either side of the Virgin two young angels are offering baskets of flowers to the Child, and standing behind this group are four haloed angels with music books, singing. “This picture is a genuine and characteristic work of Giovanni Boccati of Camerino.”—F. Mason PErxins. “The joyous composition recalls the famous picture of Boccati at the Perugia gallery.”—Pror G. Dr Nicowa, Director of the Bargello Museum, Florence. “The subject is one which the painter has treated in several of his other pictures. In style and technique this panel most closely approaches that one in the Gallery of Perugia in which the Madonna is enthroned under a balda- quin.”—Dr. Raymonp von Marte. “te No. 63 PORTRAIT OF A MAN BY ANTONELLO DA MESSINA (?) ; a © on ANTONELLO DA MESSINA (?) VENETIAN: Born 1444 683—PORTRAIT OF A MAN (PaneEt) Height, 16 inches; width, 11 mches A DARK-HAIRED man with brown eyes whose wrinkled face suggests the toll of ambition rather than of years. The lining of his brown coat carries down into the composition the dominating color of his scarlet cap. In antique Renaissance frame of black and gold. Note: The British Museum possesses a drawing by Antonello da Mes- sina (Vol. 3, 1895-9-15-789) representing exactly the same person as in this portrait in the same position and wearing the same dress. Professor Paolini adds to this note that “a few critics would appear to recognize the hand of Alvise Vivarini in it, others that of Antonello da Messina.” From the Walter Savage Landor Collection, Florence. Note: It was from this same collection that the Giorgione in the Metro- politan Museum of Art was acquired. a . ne ne tee ere co tg er me nr ne ne cree Mem Sie Lg ep te te Fleet een og ee a a a Port ween mtn amen eee em a BESGOND AND LAST SESSION MEO RSDAY EV ENING] DECEMBER 11, 1924 Palen’ AMERICAN ART GALLERIES BEGINNING AT 8:15 O’CLOCK Catalogue Numbers 64 to 124 inclusive Peel SCULPPWRED MARBLE, TERRA-COTTA, pee CHROMED AND GILDED STATLUETTES, BUSTS AND BAS-RELIEFS 64—TWO MARBLE COLUMNS Height, 50 inches Two fine marble columns, fluted and with Corinthian capitals. On green marble plinths. GOTHIC SCHOOL XIII Century 65—GOTHIC MARBLE COLUMN Height, 57 inches Tis column carved in spiral band with leaflike projections at inter- vals probably came from a Romanesque cloister of about 1250. LOMBARDY SCHOOL XIV Century 66—MADONNA AND CHILD (Mars Le) Height, 19 inches WEARING a crown and cloak and hood, the Virgin is seated on a cushioned bench with her head turned towards the Child, who sits on her left knee. Very remarkable yellow patine. The right hand of the Virgin has been broken off at the wrist and the left arm of the Child has been broken off at the shoulder. “The style calls to mind also the contemporary Venetian sculptures, but the greater Gothic flexibility in the drapings ‘and a more intimate sentiment would suggest its origin in Lombardy. At Milan, in the sacristy of St. Maria Segreta, there is a Madonna in half-figure which is very similar to the above.” —Pror. G. Dr Niconxa, Director of the Bargello Museum, Florence. COOOL TT emcee a= — . edie NICCOLO PISANO (?) Pisan: Circa 1206—1278 67—-HERCULES (Mars.Le) Height, 261 inches A ROBUSTLY built figure with bearded face and thick hair stands, . looking to the right. He holds a palm in his left hand, which is part of the upright marble background. The Hydra of Lerna at its base. “This is interesting as a version of a mythological subject interpreted with the ingenuity of the period. In the proportions and anatomical delinea- tions of this statue there exists a very striking resemblance to the figure of our Lord on the cross that Niccold sculptured on the pulpit of the Baptistery of Pisa.”—Dr. Raymonp von Marte. 99 °O LOdV IN VNNOGV LV aN IHD) aT “ON AY) LOUaPT SaTAC So at \ = af 4 ” - < 4 * ; ea ae ot " ie co a : a tm - ~*~ "Site prion cama ard Yuna # aataran a ATR on : $5 seh. F $j * eho oe ke ~ M ‘ E S 4 ; Lady ‘ a i 4 > ae ot No. 68 THE ANNUNCIATION MADONNA BY GIOVANNI ANTONIO AMADEO No. 69 ST. JOHN OF THE ‘ROMAN SCHOOL GIOVANNI ANTONIO AMADEO LoMBARDY SCHOOL: 1447—1522 68—THE ANNUNCIATION MADONNA (Marsie) Height, 14 inches Tue figure of the Virgin from an Annunciation group is shown seated as against a wall that bears faint traces of color. The head droops wearily toward the left shoulder and the hands on thigh and in the lap partake of the general air of fatigue pervading this impres- sive sculpture. The marble of the figure has been yellowed by time to. an old-ivory tint. ROMAN SCHOOL X CENTURY 69—ST. JOHN (Mars.Le) Height, 22 inches A squaT and bearded figure of the saint wearing a cloak with a border as of an animal’s skin and carrying a scroll in his left hand. He is barefooted and stands on a marble base against an upright formed of the same stone. “This statuette is an example more unique than rare of Roman art of the tenth century. To our knowledge there is nothing like it in existence in Italian or foreign museums. The force and grandeur of the conception are remark- able. In all probability this statuette formed part of a baptismal font in a Roman church. This is also substantiated by its source of origin.”—Dr. RaymMonp von Marte. No. 69——Sr. Joun No. 68—Tuer Annunciation Maponna = . : ' - aie = ae - : - 1 ne - : es t ets i A aa tl ine ee ose eS a Sl a en A ice a Ts IS Reap se eiceey t oe eee cn = peters bs VENETIAN SCHOOL XIV CEentTURY 70—THE MADONNA (StaTuETTE oF Woop, PotycHroMED AND GILDED) 4 Height, 29 inches CarryiInc the Child on her left arm, the Madonna stands at full- length on a rectangular base, her right hand pressed against her side. She wears a blue cloak over red-gold and a crown, while the Child, whose right arm is across her bosom, is also in red and gold with warm brown hair. = VENETIAN XIII Century 71—_WOOD COFFRET Length, 191% inches; depth, 8 inches; height, 934 inches A corrret of rectangular form with hinged and pointed lid. The front and back of both body and lid are of pierced carvings, that of the front being of floral motives, while the design of the back is a series of circles. Behind this openwork there are pieces of dark Murano glass, partly broken. ‘The solid ends of the body of the coffret are carved in relief. From the Marquis Bentivoglio Malatesta Collection, Rimini. Note: This very rare example of the thirteenth century comes from the home of the Marquis Bentivoglio Malatesta of Rimini. For centuries, by a family tradition, it has been looked upon as the coffret of Francesca da Rimini, although there is no documentary evidence to that effect. It is, however, con- temporaneous with Francesca da Rimini and until recently has always been in the possession of the Malatesta family. “It is a rare example,” said Dr. Wil- liam Bode, “of Italian carved furniture of the thirteenth century.” No. 71—Woop Corrret—Back ban) BUST OF ST. JOHN = Zi = — al <3) WM mM oO law =) _~ Z, =) Z ANTONIO ROSSELLINO FLORENTINE: 1427—1478 72—BUST OF ST. JOHN (Stucco, PotycHRromeE) Height, 16 inches Tus study for a bust of the young St. John shows the youth with reddish-brown hair and dark eyes looking upward. Elsewhere on the face, neck and torso there are tones of pink and yellow and russet. a 2 " ‘ ; ij : No. 73 READING STAND OF THE COSMATESQUE SCHOOL No. 74 THE VIRGIN OF THE ANNUNCIATION BY JACOPO DELLA QUERCIA COSMATESOUE SCHOOL XITI Century 73—_READING STAND (Mars_e) Height, 56 inches Own a rectangular base stands a lion with outspread legs and tail curled up around body. He supports the base of a column orna- mented with spiral bands and floral forms in relief, the middle of the column being enlarged to afford an additional ornament in relief of the four Evangelists who stand beneath Romanesque arches. ‘The reading stand is double and is ornamented with arabesques and mosaics. Note: In former times this stand must have formed part of a pulpit and belonged to the art of the Cosmatis which created so many works in Southern Italy. It is an extremely rare piece both as regards period and state of preser- vation, “This lectern is an excellent and valuable example of Italian Romanesque sculpture of the earlier half of the thirteenth century.”—F. Mason Prrxrns. JACOPO DELLA QUERCIA Tuscan: 1874—1488 74—THE VIRGIN OF THE ANNUNCIATION (Marsie) Height, 211% inches STANDING on a square base and wearing a mantle and veil, this grace- ful Virgin from an Annunciation group looks downward, holding the ends of her mantle across bosom and hips in an unusual and singu- larly beautiful fashion. 'The marble has assumed a grayish-green patine. “The form and draping of the figure combine exquisite elegance and at the same time very vigorous handling. ‘The Gothic of Jacopo is here again near to its origin and, in fact, the small statue reminds us of his larger ones on the altar in St. Martin’s in Lucca which belong to the sculptor’s early work.”—Pror. G. Dre Nicoxa, Director of the Bargello Museum, Florence. NOILVIONONNY aHL fO NIOWIA BHY—Pp,, ON ; aNXvVile ONICVAY—E) “ONT » wo a: © ‘ 3 ‘ : . 7 . i . ’ “ tow 2) i . ' \ Baal hy | wy “, Mf; ona No. 75 MADONNA AND CHILD OF THE SIENESE SCHOOL ‘ SIENESE SCHOOL XIV Century 75—MADONNA AND CHILD (Woopen Stature in PoLycHRoMe) Height, 51 inches In this unusually large polychrome statue the Virgin is seated on a bench that partly shows beneath the folds of her lustrous green and gold hooded cloak, which is lined with purple, her veil bemg white and her dress yellow. The Child, in purple and yellow, sits on His Mother’s left forearm, her right hand resting against His feet. ‘To add to the brilliancy of this work both figures have golden-brown hair. “The polychrome has been slightly repaired, but he who is able to consider the work merely from the plastic viewpoint will assuredly class it among the more important sculptures of the fourteenth century. On account of the type and the peculiar draping I see a sculptor very similar to that of the group of the Annunciation in wood existing in the church of St. Antony of Montalcino (Siena), which group is dated 1370.”—Pror. G. Dr Nicota, Director of the Bargello Museum, Florence. co oe - a Te eee ' a! BUST OF 4 WOMAN = * * tig) > Bae hs oe Z 4 4 Z. S = 9) << A © = al a = Lan) N rs DESIDERIO DA SETTIGNANO FLORENCE: XV CENTURY 76—BUST OF A WOMAN (TERRA-corTra) Height, 191% inches Tue nobly held head and bust of a young woman who looks slightly to the spectator’s left. She wears a ribbon around her hair and a robe cut round over bosom and shoulders. ‘The terra-cotta has a yel- low tone and is stained by time into an interesting patine. The bust stands on a Renaissance coffret in gilt and polychrome. Note: This bust comes from the collection of the Duke Canonici Mattei of Ferrara. In the will of Robert Canonici, drawn up in 1647 and still exist- ing in the archives of the family, the bust was described as representing a Duchess of Ferrara and a work of the Florentine school. Although different in dress and arrangement of hair it is very similar to Desiderio’s bust in the National Museum, Florence, as well as to other busts by the same master. From the Duke Canonici Mattei Collection, Ferrara. ™ No. 77 MADONNA AND CHILD BY LORENZO GHIBERTI(?) LORENZO GHIBERTI (?) FLORENTINE: 1378—1465 77—-MADONNA AND CHILD (Trrra-coTta) Height, 2714 inches WirH a loosely arranged veil on her head and a gown widening out at the feet the Virgin is shown standing full-length holding a rigidly posed Child in the hollow of her left arm. “For some time I have visualized this and other Florentine sculptures as belonging to the same group (Prato Museum, etc.), with a view to identifying the personality. It is only great prudence which restrains me from placing it as a work of Lorenzo Ghiberti.”—Pror. G. De Nicona, Director of the Bargello Museum, Florence. ce a 4 No. 78 MADONNA AND CHILD BY ANTONIO ROSSELLINO i i ~ , - 2 ~~ She. ae ANTONIO ROSSELLINO FLORENTINE: XV CENTURY 783—MADONNA AND CHILD (Marsie Bas-reELier) Height, 30 inches; width, 20 inches Wiru cherubs’ faces behind her head on either side, the Madonna is shown seated with slightly bent head holding the Child against her left side as He sits on a tasseled cushion. The haloes still bear their original red and gold tints, the cushion tassels and chair knob also showing traces of color. In Renaissance gilt and polychrome taber- nacle frame. Note: A closely resembling bas-relief by A.- Rossellino exists in the Berlin Museum. See illustration in Frida Schottmiiller’s “Italian Sculpture.” From the Marquis Nicolini Collection, Villa Parugiano, Florence. i EA a ORs ee a te Ss OOO: 4 « * We : * ' ra a t ‘ fe Sy +i : ” 4 ' ~ <0 i a oF n i * , ’ i 5 4 No. 79 MADONNA AND CHILD BY ANTONIO ROSSELLINO ANTONIO ROSSELLINO FLORENTINE: 1427—1478 79—MADONNA AND CHILD (Marste Bas-revier, Tonpo) Diameter, 271 inches WItrHIN a superb border of fruit-buds and leaves bound with a ribbon nO the hooded and cloaked Madonna is seen in half-length looking down- ward in contemplation. The Child sits on her left forearm and against His Mother’s breast. His right hand is raised and He appears _ to be looking at it in infantile wonder. “This relief bears a particular resemblance to the tondo which forms the center of the upper part of the tomb of the Cardinal of Portugal which An- tonio Rossellino completed in 1466 in S. Miniato near Florence and to that on the tomb of Maria d’Aragona at Monteoliveto in Naples, which was finished after Antonio’s death by Benedetto da Maiano.”—-Dr. Raymonp von Marte. < = = Ss © & x R, a) SI iS 9 ANTONIO POLLAIUOLO ~~. 5 ANTONIO POLLAIUOLO FLORENTINE ScHOOL: XV CENTURY 80—BUST OF A YOUNG MAN (TrErrA-corta) Height, 23 inches Weariné plate and chain mail, this bust of a young man bears a strik- ing head with full lips and luxuriant hair falling down on either cheek and around his neck. It has a reddish-brown patine. The work comes from the Malatesta family of Rimini and was always considered to be the portrait of Lorenzino dei Medici. From the Marquis Bentivoglio Malatesta Collection, Rimini. “This terra-cotta bust is a work of great artistic worth, done at the end of the fifteenth century and resembles the busts of Benedetto da Maiano. The flesh, however, is softer, the hair richer and softer. . . . Above all, it resembles the famous bust of the Hainauer collection, first attributed by me to A. Pol- laiuolo, of a handsome young man in armor. I hold the bust under considera- tion to be superior to that attributed, at first, to Pollaiuolo.”—Dr. Win11aM von Bopvr. Rome, December, 1921. | ITALIAN PAINTINGS OF THE XIII TO XVI CENTURY SIENESE SCHOOL XIV CrEentTURY 81I—THE CRUCIFIXION (Pane) Height, 17%4 inches; width, 814 inches AGAINsT a background of gold mottled by age into many hues, the crucified Christ hangs on the cross, the top of which projects up into the pointed upper end of this panel. Mary Magdalene kneels at the foot of the cross looking upward in agony, Mary the Virgin standing at the left and St. John at the right of the painting. “The figures of this panel bear a certain resemblance to those depicted by Pietro Lorenzetti. The Crucified in particular reminds us of the one that Pietro represented in his fresco of this subject in the church of St. Francis d’Assisi in Siena.”—Dr. Raymonp von Marte. Aa LORENZO IL VECCHIETTA SIENESE: XV CENTURY 82 MADONNA AND CHRIST (PaneEt) Height, 1214 inches; width, 9 inches SEATED on a balcony railing, the Virgin in dull olive and crimson attire holds the body of the Crucified Christ across her knees. A white drapery is over His loins and His left arm hangs down against His Mother’s gown. Behind this piteous group four angels stand, one bearing the symbol of the Passion. They have fillets in their hair and the haloes are in red and gold. “The four angels have almost the impression of the gentleness of Sassetta, but the style in general approaches more nearly that of Lorenzo di Pietro called “Il Vecchietta.”—Pror. G. De Nicora, Director of the Bargello Mu- seum, Florence. GIOVANNI DA BOLOGNA BoLoGnesE: XIV CENTURY (Mentioned 1877—1389) 883—MADONNA OF HUMILITY (PaNneEL) Height, 7% inches; width, 5% mches Tuer Madonna is shown seated in three-quarters length wearing a green and gold cloak and hood. She holds the Child on her lap, His nude body partly covered by a scarlet and gold drapery and His head and shoulders resting against the Virgin’s right arm. In an- tique carved frame. “We possess three signed pictures by Giovanni da Bologna, a St. Chris- topher in the Museum of Padua, a Madonna of Humility with Saints in the Accademia of Venice and a Madonna of Humility seated on a rainbow in the Brera Gallery of Milan. A comparison between this panel and the two signed Madonnas leaves us no doubt as to the authorship of this panel.”—Dr. Ray- MOND VoN Marte. - ae tsa oh RS A an i ie tite email EE No. 83—Maponna or Humitiry No. 82—Manponna AND CHRIST eee No. 84 THE NATIVITY BY SEGNA DI BUONAVENTURA (?) SEGNA DI BUONAVENTURA (2) SIENESE: XIV CENTURY 84—THH NATIVITY (Pane) Height, 19 inches; width, 11 inches Tue Virgin in black and red sits against a scarlet drapery in the arched opening of a grotto that is represented in tones of green. St. Joseph sits below her to the left of the picture, while at the right stands a shepherd to whom four angels above the grotto are announc- ing the glad tidings. The Infant lies in the manger swathed in white. Above the picture proper is a pointed panel containing the half- length figure of a young deacon who may be St. Lawrence or St. Stephen. This section of the frame, like the upper bar, is adorned with gilded palmettes. “Te is, with Ugolino, the most known and worthwhile pupil of Duccio de Buoninsegna. He lived until about 1320. The composition is the one usually made in the Ducciesque school. But this painting, we can believe, is positively by Segna, above all if we consider the type of the figure in comparison with the Madonna of the Norfolk polytych signed by Segna and acquired by the Metropolitan Museum of Art.”—Pror. G. Dr Nicoua, Director of the Bar- gello Museum, Florence. “The only thoroughly Ducciesque elements in this picture are found in the figures of the Virgin and Joseph. It is true that the composition shows many points in common with the Nativity from Duccio’s Maesta, now in the museum of Berlin, but this is the composition established by Byzantine iconog- raphy and hardly allows us to infer a direct influence of Duccio’s art. ‘The very conventional rocks and folds of the drapery as well as the almost upright position of the Virgin are features borrowed from thirteenth century art from which this artist is but one step removed. Although he obviously knew Duccio’s work, he was not dominated by it.”—Dr. Raymonp von Marte. a y 1 al ; t » | Bs. No. 85 MADONNA AND CHILD BETWEEN SAINTS JEROME AND ANTONY ABBOT BY GIORGIO SCHIAVONE GIORGIO SCHIAVONE Papuan: XV CENTURY 85—MADONNA AND CHILD BETWEEN STS. JAMES AND ANTONY ABBOT (PaneEL) Height, 1434 inches; length, 20 inches Tur Madonna is seated on a draped stool holding the standing Child against her left side. She is in olive-green and crimson and the Child is nude save for a veil-like scarf and a necklace. St. James is at. the left of the picture with a pilgrim’s attributes, and St. An- tony Abbot at the right in dull brown and red. A springtime land- scape in the background is one of the pleasing features of this panel. “The arrangement of the figures is similar to that in Schiavone’s panel in the Jacquemart André Museum in Paris, while the curious position of the Child is found in the picture of the Madonna that forms the central part of the polytych in the National Gallery and again in the Madonna in Berlin.”— Dr. Raymonp von Marte. ey SIENESE SCHOOL XV CENTURY 86—MADONNA ADORING THE CHILD (Pane) Height, 211% inches; width, 1834 inches Tue Virgin is shown in half-length against a gold background and wearing a dark olive-green hooded mantle with a crimson gown orna- mented with jeweled bands around bosom and wrists. Her hands are held in adoration as she looks down at the nude Christ Child seated on a golden cushion at the left of the picture and holding a lettered scroll in His left hand. In an antique molded frame with attribu- tion and title on tablet. “An unknown painter by whom but few other works are known (see No. 371 in the Siena Gallery) has united elements of Neroccio and Francesco di Giorgio archaisms of the Sassetta style. This work is very similar to the one just mentioned in the Siena Gallery.”—Pror. G. Dr Nicoxa, Director of the Bargello Museum, Florence. FRENCH SCHOOL XIV CrentTurRY 87—_MADONNA AND CHILD WITH TWO ANGELS (PanEL) Height, 27°, inches; width, 17 inches Tue Madonna is seated on a marble throne of pronounced Gothic form and wears a glowing blue cloak with white lining and orna- mented with large golden stars. The Child is obviously in a costume of the period, including gray tights and red shoes, and holds an apple in His left hand. The two angels in red are above the throne. ANDREA DA BOLOGNA BoLoGnEsE: XIV CENTURY 88—_MADONNA AND CHILD (PANEL) Height, 33 inches; width, 2884 inches Two angels in either upper corner of the picture hold a scarlet and gold drapery behind the Madonna, who stands in half-length holding the Child on her right arm and clasping His right leg in her left hand to support Him. She wears a deep blue and gold cloak with hood that has a green lining and handsome gold borders. ‘The Child is draped from the waist downward and wears a striking gold and red coral necklace, His horseshoe-shaped halo being also in red and gold. “Andrea da Bologna’s most important work is the series of frescoes which adorn the chapel of St. Catherine in the Lower Church of 5S. Francesco, Assisi. Several of his productions are found in the Marches, where he must have been active for a considerable length of time. The finest of these is the polytych of 1369 in the gallery of Fermo. In certain of his works, including the Madonna in question, Andrea reveals his dependence on the Marchegian school by the absence of those strong plastic effects which are so character- istic of Bolognese painting.”—Dr. Raymonp von Mas te. fi. No. 89 MADONNA AND CHILD /y* SIENESE SCHOOL XIV CENTURY 89 MADONNA AND CHILD (PaneEt) Height, 29 inches; width, 164 imches Tir Child, with His arms around His Mother’s neck, nestles His face against hers as she holds Him up against her breast. The Madonna is standing in three-quarters length in a dark green mantle and hood, the Child wearing a light green cloak over a golden tunic. The panel has a curved top and is in an antique molded frame. “e . ‘ No. 90 THE MIRACLE OF ST. DOMINIC BY QUIRIZIO (QUIRICIUS) DA MURANO QUIRIZIO (CQUIRICIUS) DA MURANO Murano: XV CENTURY 90—THE MIRACLE OF ST. DOMINIC (Pane) Height, 2144 mches; width, 1334 imches Iw a plaza before a pink-walled chapel and against a palazzo form- ing part of the background the good saint in white robe and dark cloak is performing the miracle of expelling a very definite devil from a woman clad in rose-pink. The saint is attended by an acolyte bearing the holy water vessel, and two men in green and yellow and scarlet support the woman. A blue sky fills the panel above the chapel and palazzo. Note: Bernard Berenson, having seen this picture, gave the above attri- bution. LER No. 91 MADONNA ENTHRONED BETWEEN ST. PETER AND ST’. JOHN BY DUCCIO DI BUONINSEGNA (?) DUCCIO DI BUONINSEGNA (?) SIENESE: Circa 1260 91—MADONNA ENTHRONED BETWEEN ST. PETER AND ST. JOHN (TriptycH) Height, 10% inches; length (open), 1614 inches In the center panel of this triptych the Madonna is seated in full- length against a crimson drapery over a green and white throne, her costume being in black and rose. She holds the Child against her left side, and standing on either side of the throne are the figures of St. Peter and St. John. In the panel at the left is a bishop above and the donor kneeling below. In the right panel appears the Crucifixion. “This little triptych is by an anonymous follower of Duccio, who, not- withstanding his allegiance to the fixed character of his school, reveals /a distinct personality of his own. The interest of the kneeling figure of Ahe donor, a truly notable example of the portraiture of the period, is admirable alike in expression and design.” —F. Mason PrErxins. a aluated. “Tt is only a short time that this school has been properly e The chief exponent of the school is Giovanni Baronzi of Rimini. The group is a clear demonstration of the principles on which the Rimini art is formed; that is, from the Giotto and Duccio (and not Cavallini) schools, inasmuch as in this particular case the Madonna and Child are, as far as types are con- cerned, in accordance with the formula of Duccio.”—Pror. G. Dr Nicot.a, Director of the Bargello Museum, Florence. No. 92 MADONNA AND CHILD BY GIOVANNI DI UGOLINO DA MILANO No. 93 MADONNA AND CHILD BY FRANCESCO DI GENTILE DA FABRIANO GIOVANNI DI UGOLINO DA MILANO MILANESE: XV CENTURY 92—M ADONNA AND CHILD (PANEL) Height, 301% mches; width, 24 inches SHOWN seated in three-quarters length, the Madonna wears a white headdress and ermine-lined deep blue mantle with burnished gold border. 'The Child lies in her lap supported by her left arm. Two arches are on either side of the upper part of the panel. “This painter is known only for a missal begun by him in 1426 and now in the Cathedral library at Fermo. In the ‘Storia dell’ Arte, Vol. VII, page 179, Venturi reproduces a page of the mass-book mentioned with the Madonna and two angels. ‘There can be no mistake as to the authorship on account of the marked peculiarity of style obtaining both in this Madonna and that on the page of the missal. As far as I know this is the first paint- ing recognized as a work of Giovanni di Ugolino.”—Pror. G. Dr Nicotra, Director of the Bargello Museum, Florence. FRANCESCO DI GENTILE DA FABRIANO Toe Marcues ScHoout: XV CENTURY 93—MADONNA AND CHILD (PaneEt) Height, 1514 inches; width, 11 inches SEATED on a cushioned bench of old-rose color the Madonna is shown in full-length holding the nude Christ Child, who stands in the hollow of her right arm. The background is of glowing gold and the Virgin wears a white and gold headdress and a green-lined blue cloak. “This picture is most typical of the style prevailing in the Marches region and there can be no mistake as to its authorship, as there is a Madonna in the Johnson collection with the very same folds and arrangement of the dress from the knees downward. (See Berenson’s catalogue of the Johnson collection, No. 130.)”—Pror. G. Dr Nicoxa, Director of the Bargello Mu- seum, Florence. Q = — Hae —) AQ Z, < a Zz A a < heme = No. 92—Maponna anv CuiLp a ——— t y ee ee ‘ ma gia a> f + ECA nell we No. 94 MYTHOLOGICAL SCENE BY PARENTINO (Bernarpino pa ParENzo) PARENTINO (BERNARDINO DA PARENZO) Papuan ScuHoou: Drep 1531 (7) 94—M YTHOLOGICAL SCENE (Canvas) Height, 22 inches; width, 22 inches ABOVE a prospect of a city, which is recognized as Mantua in the fifteenth century, and with dusky-hued figures, dogs and a horse there stretches a band of white clouds rising gently to the right of the pic- ture. At the left is the sun-god in his chariot with upriased whip driving four white horses in red harness. “This work shows very clearly the artist’s dependence on Andrea Man- tegna.”—Dr. Raymonp von Marte. 20 ap set emp hs et en RRR Fores een ae Wy t ‘ "i a a ' - ‘ ¢ * a r ‘ é % 4 i, 4 ’ ’ No. 95 MADONNA, CHILD AND TWO ANGELS OF THE VERONESE SCHOOL VERONESE SCHOOL XIV CENTURY 95—MADONNA, CHILD AND TWO ANGELS (PaneEL) | Height, 3134 inches; width, 201% inches Against a scarlet background the Virgin stands in half-length hold- ing the Child in the hollow of her right arm. ‘Two angels support either side of the Virgin’s halo, which is ornately ornamented and encircled by a black band. Three Greek letters appear on either side of the panel above the angels’ heads. “On account of the Virgin’s headdress this work shows a particular re- semblance to a full-length figure of the enthroned Virgin preserved in the church of S. Zeno. Features of special interest are the North Italian model of the Child’s dress and the inscription in Greek, the persistent use of which can be accounted for by the vicinity of Venice.”—Dr. Raymonp von Marte. “Despite certain archaisms of the twelfth century, such as the veil and the way in which the Virgin’s cloak is folded on her head, the painting is assuredly one of the first part of the fourteenth century. It is principally on account of the two angels that it has been classed as coming from the Veronese region.”—Pror. G. Dre Nicoxa, Director of the Bargello Museum, Florence. RO i VRE 5 ARETE af No. 96 MADONNA AND CHILD BY DOMENICO DI BARTOLO No. 97 MADONNA AND CHILD BY BARNABA DA MODENA = CP J9 ~ DOMENICO DI BARTOLO SIENESE: XV CENTURY 96—MADONNA AND CHILD (PaneEL) Height, 28 inches; width, 161% inches SraTeD in full-length on a great red cushion this sweet-faced Ma- donna holds the nude Child against her breast, a cushion beneath Him on her left thigh. The frame is ornately Gothic with an arched top and on the lower panel of the frame appears the words: “Regina Celorum Ora pro nobis.” “Two particulars leave absolutely no doubt as to the name of the painter: the head of the Virgin, which is so similar in type and garb, etc., to the Virgin in the Perugia Gallery, the construction of the lower part of the Vir- gin with limbs well apart and the very full drapings as in a picture by the same painter in the Pisa Gallery.”—Pror. G. Dr Nicoxa, Director of the Bargello Museum, Florence. “Only a very few pictures from the hand of Domenico di Bartolo have come down to us. Comparing this panel with the master’s authentic works we find that it shows the most points in common with the Madonna of the altar-piece dating from 1438 in the Gallery of Perugia, but this picture might be the production of an even slightly earlier phase of the artist’s activities.”— Dr. Raymonp von Marte. BARNABA DA MODENA - SIENESE: XIV CENTURY 97—M ADONNA AND CHILD Height, 12% inches; width, 814 inches (PANEL) Suown in half-length, the Virgin wears a deep red hood and mantle over a white veil. The Child, in scarlet and gold, is seated on her left forearm with one foot resting on His Mother’s right hand. In an antique gold and polychrome frame with twisted columns and Gothic arch. The phrase, “Ave Maria Gratia Plena,” in gold against red is on the lower bar of the frame. “This charming little picture is a characteristic and quite unquestionable work of Barnaba da Modena, as will be at once patent to those who will compare it with the various signed panels by the master. In style and feeling it comes particularly close to the remarkably fine Madonna and Child in the Boston Fine Arts Museum which was restored by me to Barnaba some years ago.”—F. Mason PERKINS. “As in other pictures, this painter, who worked at Modena, Pisa and Genoa, has permeated this group with purely Sienese sentiment and so much so that the picture might quite well be taken for a Madonna by Lippi.”—Pror. G. Dre Nicona, Director of the Bargello Museum, Florence. CIIH) GNV VNNOGV(—16 ‘ON 1H) GNY VNNOGVI[—96 “ON ? ? t ba i 2 * bts > oa =a - © a q i S a a x x a S S a s = GIOVANNI DI NICCOLO GIOVANNI DI NICCOLO Pisan: XIV CEentTuRY 98—MADONNA AND CHILD (PanEL) Height, 2234 inches; width, 1434 mches TuE Virgin, seen at half-length, wears a deep blue cloak and hood with golden ornaments embroidered on it and red and gold bor- ders. The Child, partly draped in cloth-of-gold lined with red, nestles against her left side as she holds Him in the hollow of her arm. The background is gold. Molded frame. “This painting was attributed to Ambrogio Lorenzetti. The style, in fact, is very Sienese. But by calling to mind the group at the Civic Museum of Pisa (Room 14, No. 82) signed by Giovanni di Niccolo there can be no doubt that the picture in question is a work of the last-mentioned artist. Consequently, apart from its exquisiteness, this painting is very rare indeed.” —Pror. G. De Nicoua, Director of the Bargello Museum, Florence. & i ; e R = B = 2 Re © Z NX = Z > = S BARNA DA SIENA BARNA DA SIENA SIENESE: Diep 1381 99—_M ADONNA NURSING THE CHILD (PanEL) Height, 1834 wmches; width, 1414 imches TueE seated Virgin in half-Jength wears a pale pink cloak lined with olive. _Her complexion is pale olive and this, combined with the shape of her eyes and the long,/slender fingers, gives her an Oriental appearance. The partly draped Child is nursing at His Mother's left breast as He plays with \His left foot and holds a bird against His Mother’s bosom. On either side of the Madonna’s head there has been inserted in the panel bosses of orange and green glass. The frame is antique and Renaissance in style of decoration. “The Madonna bears a close resemblance to that in the church of St. Francesco at Ascanio, while a very similar type of the Child Jesus who with one hand plays with his foot is in the fresco in the church of S. Pietro at S. Giminiano. Mr. Perkins was the first to attribute these two works to Barna da Siena and I have already concurred with this opinion.”—-Dr. RayMonD von Marte. - pee £ » ti a ae grb ae Ake Rae 7 No. 100 MADONNA ADORING THE CHILD BY COSIMO TURA \] COSIMO TURA Ferrara: Circa 1432—1495 100—MADONNA ADORING THE CHILD (PaneEL) Height, 1634 mches; width, 12 inches A sTaATELY Madonna is seated in half-length before a Romanesque alcove. She wears a white veil, a purple cloak and green dress. The Child, nude save for a double string of coral around His neck and bracelets of the same, lies asleep on His Mother’s lap, across which she has drawn a fold of her cloak. The alcove is of white and green marble and winding down the right side of the picture is a lettered scroll. Note: In authenticating this picture Dr. Raymond von Marle wrote: “The composition is almost identical with the central figures of the large altar- piece in the gallery of Berlin.” Da a ANTONIO VIVARINI Murano: XV CENTURY 101—SAINT CATHERINE (PanEL) Height, 2314 inches; width, 16 inches AGAINST a pointed gold background the standing figure of the saint is shown in half-length wearing a rich crown of gold on her blond hair and a green cloak confined over the bosom with a gold and jew- eled clasp. She holds a segment of the rim of her torture-wheel against her body at the left of the picture, supporting it with both hands. A part of a polytych. “The saint is almost identical to the St. Catherine by the same artist existing, together with other details coming from one and the same polytych, in the Collegiale di Pausola in the Marches region.”—Pror. G. Dr Nicoua, Director of the Bargello Museum, Florence. FRANCESCO DEL COSSA FERRARA SCHOOL: ACTIVE 1456—1472 102—MADONNA AND CHILD (PaneEt) Height, 3414 inches; width, 191% inches On a red bench placed against a golden wall with a lozenge-shaped pattern the Virgin sits in full-length wearing a white veil over her head, a deep green cloak and a dull red dress. The nude Child stands against the Madonna’s right side nestling His face to her cheek. The Virgin holds a red carnation in her left hand against her waist. The panel is enclosed in an ornate polychromed and carved contemporary tabernacle frame with an arched panel above the main painting showing the Resurrection. “In this picture we find another instance of that peculiar type of face that Francesco del Cossa shows in his works. Very characteristic examples will be found in the frescoes which Duke Borso d’Este had this painter depict between 1467 and 1470 in the Schifancia Palace in Ferrara. . . . The same peculiarities will be found in the predella panels with scenes from the legend of St. Vincent Ferrer in the Vatican Gallery.”—Dr. Raymonp von Marte. at eh ecg tanh te) if : iB No. 103 MADONNA, CHILD AND ANGELS ATTRIBUTED TO VERROCCHIO VERROCCHIO (CArrrisutep To ) FLORENTINE: XV CENTURY 108—_MADONNA, CHILD AND ANGELS (PaneEL) Height, 274% inches; width, 1914 inches Tuer Madonna is shown seated in three-quarters length, her hands upraised together in adoration of the Child, who sits on a cloth-of- gold cushion on her lap partly supported by a youthful angel at the right of the picture, above whom is a flying cherubim with scarlet wings. A landscape background shows behind the figures. “This healthily attractive and typically Florentine picture is the work of an anonymous but by no means ungifted pupil and follower of Verrocchio. The purely Verrocchiesque derivation of the painter’s style is, in fact, as clearly evident in the types and forms as in their technical handling.”—F. Mason PERKINS. ~ * 7 pens Pe ae Bolee's Okt ere + es Z E “< mm Ne RE ce oe Fie a lee he Be i ke be ee ee, obec) SMa ames Hace WE on is 6 Roi ae 9 A ewes eel No. 104 VIRGIN AND CHILD BY DEODATI ORLANDO DEODATI ORLANDO Luccan: DIED circa 1837 104--VIRGIN AND CHILD (Pane, SicNED) Height, 37 inches; width, 29 imches WITHIN an antique Gothic polychromed frame and against an ornate gold background the Virgin stands in half-length holding a flower against her bosom in her right hand and supporting the Child in the hollow of her left arm. She wears a dark green cloak and an old- rose dress. ‘The Child has His right hand raised as in blessing and in His left hand clutches a bird. The lower border of the frame shows the signature: Deodatus Orlandime . . . A.D.MCCCVIII. “This painting is one of the few signed by the artist. On account of its historical importance it was reproduced and published in the recent book by O. Siren, T'oskanische Maler im XIIT Jahrhundert, Fig. 38, page 125.”— Pror. G. De Nicota, Director of the Bargello Museum, Florence. “This picture, no doubt, formed the center of an oblong altar-piece and the inscription, which is incomplete, was, in all probability, continued on the adjacent panel. A similar half-length figure of the Virgin forms the center of a long polytych composed of five figures in the gallery of Pisa showing the signature and date 1301. The Virgin in type, however, more closely resembles the enthroned Madonna that is also in the gallery of Pisa.”—Dr. RayMonp von Marte. ca Steir tee No. 105 MADONNA AND CHILD BY FIORENZO DI LORENZO FIORENZO DI LORENZO PERUGIAN: 1445—c. 1525 105—MADONNA AND CHILD (PaneEL) Height, 33°24 imches; width, 22 inches Tue Madonna stands in half-length behind a balcony railing holding the Child, who stands on the railing, against her right side. The Child wears a green and white costume with square golden plaque-like orna- ments and realistic red sandals. The Madonna wears a dark green cloak lined with yellow. An open book lies on the railing and behind the group is a panel of green and gold fabric, on either side of which are glimpses of distant landscape. Contemporary polychromed tabernacle frame. “This work is very characteristic of the master’s earlier manner, of which the principal production is the large panel of the Virgin, St. Joseph and shepherds adoring the Christ Child in the gallery of Perugia. The features of this Madonna bear most resemblance to those of the Virgin in the Adora- tion at Perugia.”—Dr. Raymonp von Marte. a aa RR A a RA vis te me pan wae | : | ; } ee hee RBERELEEEE ? im * No. 106 MADONNA AND CHILD BY PINTURICCHIO (Bernarpino pt Berro) PINTURICCHIO (BERNARDINO DI BETTO) UMBRIAN: 1454—15138 106-—MADONNA AND CHILD (PaneEL) Height, 2214 inches; width, 16 inches THE seated Madonna is shown in three-quarters length, the Child standing on her right leg supported by her arm. Except for a piece of cloth and a necklace and jeweled cross the Child is nude. His Mother wears a costume of crimson and ‘gold with a blue cloak orna- mented with borders of gold embroidery. » 3 o 4 ’ ae | 4 ft sw Say Chi! i ' ’ z x x 4, x 3 : = X é SAINTS JEROME, JULIAN AND FRANCIS GENTILE DA FABRIANO we Lee roxy tees” a -? We 5 a ae - cal ‘ Wis ck i f* Soa ? -. ‘ od, = bor 2 ’ { , A F ‘ 4 . “ ed, a FS fee sf : “ss @ ys “) ae ~ kaee ~ : oa ay * + ad - 4 > 5 Seu 2. ‘ oe 7 ‘ ‘ fs a ‘ Cie Ms a aii & : Le a / ‘ ei ’, $. j \ gt act a “¥ . ‘ ‘ 4 . } na A < . y i. 4 . { e2 a co oe ~ - 7; ' a / a, ?- > capi i ce | 4 ay ire ma . ¢’ i ty ‘ A 4 fe , . iad ?. 7 x . } “> ‘ > ‘ ‘ - Z £ ; d (alk 0 eee . a fy, vy yee! J s iw) o Gs hy A, Sage hae a 5 ad tena tiew Ld No. 119 MADONNA AND CHILD WITH TWO SAINTS AND ANGELS BINS PIETRO DEGLI INGANNATI PIETRO DEGLI INGANNATI VENETIAN: XV CENTURY 119—MADONNA AND CHILD WITH TWO SAINTS AND ANGELS (PaneEL) Height, 264 mches; length, 40 inches Tue six figures in this oblong panel are posed against a blue and white sky, the Madonna in the center seated in three-quarters length adoring the nude Child, who is sleeping in her lap. She wears a white hood that partly covers her bosom and one shoulder and a deep blue cloak over a purple dress. At the extreme left stands St. John with his cross-like staff and a lettered scroll, while St. Anthony, an aged and bearded figure, is at the right of the composition, the heads of the two angels showing between those of the three principal figures as they stand in the background. “Although at first we might ascribe this picture to Bissolo a more pro- found examination convinces us that it is from the hand of that follower of Bissolo’s to whom we owe the signed painting in the Gallery of Dresden, the inscription on this authentic work reading: Petrus de Ingannatis, P.”-—Dnr. RayMonpd von Martz, I EME Neha i A SL” 4 REE OP et ana Vt Py aeons in slianacrsts ce nsupeneneoearad wa i send ABN Gs A ABM Na Me de Poon 4 4 a IN crete He No. 120 MADONNA AND CHILD WITH TWO SAINTS BY GIOVANNI DA PONTE GIOVANNI DA PONTE FLORENTINE: XV CENTURY 12200—_MADONNA AND CHILD WITH TWO SAINTS (PaneEL) Height, 36 mches; width, 1914 mches Own a formal throne the Madonna is seated in full-length in a dark blue hood and cloak over pale pink dress. The Child is in orange and scarlet and sits in His Mother’s lap against her left breast. St. Paul and St. Nicola stand on either side of the throne and there is a dog- like animal below the throne. The frame is elaborately Gothic in character with double twisted columns, and across the lower bar is the salutation in gilt molded letters: Ave Maria Gratia Plena. “This picture assuredly belongs to the first period of this master’s activity, that is, the best period of all. 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