• Explore the MFA’s late thirteenth-to mid-twentieth-century Italian paintings with masterworks by Duccio, Fra Angelico, Fra Carnevale, Botticelli, Titian, Rosso, Tintoretto, Canaletto, Tiepolo, and Morandi.

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  • Blood of the Redeemer

    Bartolomeo Passarotti (Italian (Bolognese), 1529–1592)

    Description

    Provenance

    By 1874, with Charles Sumner, Boston, MA, USA; 1874 - Boston, MA, USA. Museum of Fine Arts (bequest of Sumner) (Accession date: April 27, 1874)

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    Overall: 34.3 x 15.6 cm (13 1/2 x 6 1/8 in.)

    Accession Number

    74.22

    Medium or Technique

    Oil on panel

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Vision of Ezekiel

    After a painting in the Palazzo Pitti, Florence

    After Raphael (Raffaello Sanzio or Santi) (Italian, 1483–1520)

    Description

    After a painting in the Galleria Palatina, Florence

    Provenance

    By 1874, with Charles Sumner, Boston, MA, USA; 1874 - Boston, MA, USA. Museum of Fine Arts (bequest of Sumner) (Accession date: April 27, 1874)

    Credit Line

    Bequest of Charles Sumner

    Details

    Dimensions

    41.6 x 31.8 cm (16 3/8 x 12 1/2 in.)

    Accession Number

    74.23

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child with Young Saint John the Baptist

    After Raphael (Raffaello Sanzio or Santi) (Italian, 1483–1520)

    Description

    After the Madonna della Sedia in the Galleria Palatina, Florence

    Provenance

    1876, with Charles W. Galloupe; 1876 - Boston, MA, USA. Museum of Fine Arts (gift of Galloupe) (Accession date: July 1, 1876)

    Credit Line

    Gift of Charles W. Galloupe

    Details

    Dimensions

    74.3 x 74.3 cm (29 1/4 x 29 1/4 in.)

    Accession Number

    76.422

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Communion of the Apostles

    Luca Giordano (Italian (Neapolitan), 1634–1705)

    Description

    Giordano was known for the speed with which he executed large-scale paintings. Giordano’s strength in conveying dramatic action is displayed here, as Christ is shown sharing the Passover meal with his twelve disciples. Distributing the bread and wine, he asks them to remember him by reenacting this meal, thus instituting the sacrament of Holy Communion.

    Provenance

    Before 1848, in Bohemia, Czechoslovakia. Anonymous collection (baron). By 1882, with Mrs. Louis Thies, Cambridge, MA, USA; 1882, Gift of Thies, Museum of Fine Arts, Boston (Accession date: April 19, 1882)

    Credit Line

    Gift of Mrs. Louis Thies

    Details

    Dimensions

    188 x 305.1 cm (74 x 120 1/8 in.)

    Accession Number

    82.112

    Medium or Technique

    Oil on canvas

    Not On View

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  • Saints Augustine and Peter (left panel)

    King David, Saint John the Evangelist and an Angel (left pinnacle)

    Niccolò di Ser Sozzo (Italian (Sienese), active about 1334–1363), Francesco Neri da Volterra (Italian (Florentine), active about 1338–died before 1386)

    Description

    Provenance

    By 1883, Giuseppe Toscanelli, Pisa, Italy; April 9, 1883, sold at Toscanelli sale, Sambon, Firenze, Italy, lot 110, and bought by Mr. and Mrs. Martin Brimmer, Boston, MA; 1883, gift of Mr. and Mrs. Martin Brimmer [see note 1]. (Accession date: October 9, 1883) NOTES: [1] Painting was attributed to Bartolo di Fredi at Toscanelli sale.

    Credit Line

    Gift of Martin Brimmer

    Details

    Dimensions

    122.6 x 50.5 cm (48 1/4 x 19 7/8 in.)

    Accession Number

    83.175a

    Medium or Technique

    Tempera on panel

    Not On View

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  • The Dormition and Assumption of the Virgin (center panel)

    The Blessing Christ (center pinnacle)

    Niccolò di Ser Sozzo (Italian (Sienese), active about 1334–1363), Francesco Neri da Volterra (Italian (Florentine), active about 1338–died before 1386)

    Description

    Provenance

    By 1883, Giuseppe Toscanelli, Pisa, Italy; April 9, 1883, sold at Toscanelli sale, Sambon, Firenze, Italy, lot 110, and bought by Mr. and Mrs. Martin Brimmer, Boston, MA; 1883, gift of Mr. and Mrs. Martin Brimmer [see note 1]. (Accession date: October 9, 1883) NOTES: [1] Painting was attributed to Bartolo di Fredi at Toscanelli sale.

    Credit Line

    Gift of Martin Brimmer

    Details

    Dimensions

    198.0 x 87.3 cm (77 15/16 x 34 3/8 in.)

    Accession Number

    83.175b

    Medium or Technique

    Tempera on panel

    Not On View

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  • Saint John the Evangelist and a Deacon Saint (right panel)

    King Solomon, Ezekiel, and an Angel (right pinnacle)

    Niccolò di Ser Sozzo (Italian (Sienese), active about 1334–1363), Francesco Neri da Volterra (Italian (Florentine), active about 1338–died before 1386)

    Description

    Provenance

    By 1883, Giuseppe Toscanelli, Pisa, Italy; April 9, 1883, sold at Toscanelli sale, Sambon, Firenze, Italy, lot 110, and bought by Mr. and Mrs. Martin Brimmer, Boston, MA [see note 1]; 1883, gift of Mr. and Mrs. Martin Brimmer. (Accession date: October 9, 1883) NOTES: [1] Painting was attributed to Bartolo di Fredi at Toscanelli sale.

    Credit Line

    Gift of Martin Brimmer

    Details

    Dimensions

    122.6 x 50.3 cm (48 1/4 x 19 13/16 in.)

    Accession Number

    83.175c

    Medium or Technique

    Tempera on panel

    Not On View

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  • The Entombment of Christ

    Lucio Massari (Italian (Bolognese), 1569–1633)

    Description

    Provenance

    By 1883(?) Toscanelli, Giuseppe (?). Pisa, Italia (or anonymous Roman dealer; said to be in Giuseppe Toscanelli sale of 1883, but this appears to be incorrect) Roma, Italia. Anonymous collection. 1883(?) - 1883 Stillman (acquired in Rome or from Toscanelli?) (letter from Brimmer says Stillman bought it at Toscanelli sale but picture isn't in sale catalogue); 1883 - 1883 Mr. and Mrs. Martin Brimmer (Mary Ann Timmins). Boston, MA, USA (buying through Stillman); 1883 - Boston, MA, USA. Museum of Fine Arts (gift of Brimmer) (Accession date: October 9, 1883)

    Credit Line

    Gift of Martin Brimmer

    Details

    Dimensions

    82.9 x 58.4 cm (32 5/8 x 23 in.)

    Accession Number

    83.176

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Assumption of the Virgin

    After Jacopo Tintoretto (Jacopo Robusti) (Italian (Venetian), about 1518–1594)

    Description

    After a painting in the church of Santa Maria Assunta (Gesuiti), Venice.

    Provenance

    By 1882, Thomas Gold Appleton (b. 1812 - d. 1884), Boston [see note 1]; 1884, bequest of Appleton to the MFA. (Accession Date: June 2, 1884) NOTES: [1] Edward Strahan, The Art Treasures of America, vol. 3 (Philadelphia, 1882), p. 88.

    Credit Line

    Bequest of Thomas Gold Appleton

    Details

    Dimensions

    69.2 x 47 cm (27 1/4 x 18 1/2 in.)

    Accession Number

    84.282

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child

    about 1380
    Antonio Veneziano (Italian (Florentine), active 1369–1388)

    Description

    Provenance

    1884, Mrs. C. B. Raymond, Boston; 1884, gift of Mrs. C. B. Raymond to the MFA. (Accession Date: July 1, 1884)

    Credit Line

    Gift of Mrs. C. B. Raymond

    Details

    Dimensions

    55.9 x 37.4 cm (22 x 14 3/4 in.)

    Accession Number

    84.293

    Medium or Technique

    Tempera on panel

    Not On View

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  • The Three Graces

    After Raphael (Raffaello Sanzio or Santi) (Italian, 1483–1520)

    Description

    After a fresco in the Villa Farnesina, Rome

    Provenance

    By 1884, James E. Freeman; 1884, sold by Freeman to the MFA for $650 (Accession Date: February 12, 1941)

    Credit Line

    Museum purchase with funds donated by W. D. Pickman, Thomas Gold Appleton and William F. Weld

    Details

    Dimensions

    267 x 195.6 cm (105 1/8 x 77 in.)

    Accession Number

    84.561

    Medium or Technique

    Oil on canvas

    Not On View

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  • Sibyl

    1726
    Sebastiano Conca (Italian (Roman), 1680–1764)

    Description

    Inscription

    Lower right: Conca fecit 1726

    Provenance

    By 1888, with William Everett, Boston, MA, USA (of the firm Williams and Everett?) [Note 1]; 1888 - Boston, MA, USA. Museum of Fine Arts (gift of Everett) (Accession date: May 1, 1888) NOTES: 1. The dealer? Williams & Everett were Boston dealers who sent George Inness to Europe in 1870 and who represented Mary Cassatt early in her career.

    Credit Line

    Gift of William Everett

    Details

    Dimensions

    Overall: 96.5 x 85.7 cm (38 x 33 3/4 in.)

    Accession Number

    88.342

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Transfiguration of Christ

    After Raphael (Raffaello Sanzio or Santi) (Italian, 1483–1520)

    Description

    After a painting in the Vatican Museums

    Provenance

    By 1890, with Mrs. Henry Edwards; 1890 - Boston, MA, USA. Museum of Fine Arts (bequest of Edwards) (Accession date:April 1, 1890)

    Credit Line

    Bequest of Mrs. Henry Edwards

    Details

    Dimensions

    147.3 x 98.1 cm (58 x 38 5/8 in.)

    Accession Number

    90.74

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child

    Domenico Corvi (Italian (Roman), 1721–1803)

    Description

    Provenance

    By 1890, with Mrs. Henry Edwards, Boston, MA (on label on back of canvas); 1890, bequest of Mrs. Henry Edwards. (Accession date: April 1, 1890)

    Credit Line

    Bequest of Mrs. Henry Edwards

    Details

    Dimensions

    60 x 48.5 cm (23 5/8 x 19 1/8 in.)

    Accession Number

    90.76

    Medium or Technique

    Oil on canvas

    Not On View

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  • Still Life with Fruit and Dead Birds in a Landscape

    Giovanni Battista Ruoppolo (Italian (Neapolitan), 1629–1693)

    Description

    A still-life specialist, Ruopoolo lived his entire life in Naples and was succeeded by a sizable school of followers. Here, the urn, which rises out of view at the top of the picture, serves to anchor the objects that curve slowly toward the foreground space. The figs, burst pomegranates, cascading grapes, and rough-skinned melon all are featured in many of Ruoppolo’s works.

    Provenance

    Anonymous collection (or anonymous dealer), Rome (an old ms. label on the stretcher describes it as a fruit piece from an old Roman Gallery). By 1890 Mrs. Henry Edwards; 1890 MFA (bequest of Edwards; formerly as Giovanni Battista Ruoppoli) (Accession date: April 1, 1890)

    Credit Line

    Bequest of Mrs. Henry Edwards

    Details

    Dimensions

    75 x 36.5 cm (29 1/2 x 14 3/8 in.)

    Accession Number

    90.82

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child

    1561
    Francesco Morandini (called il Poppi) (Italian (Florentine), 1544–1597)

    Description

    Though the author of this painting has been debated, its strong outlines and facial types are characteristic of works by Francesco Morandini. The unnaturalistic figural proportions, especially in the Virgin’s long neck and arms and Christ’s muscular physique, are typical of the Mannerist style, and the composition derives from a lost work by Pontormo, one of Florence’s most influential Mannerist artists. John the Baptist, Joseph, and Saint Elizabeth appear before a background archway. Elizabeth holds a book bearing the date 1561, the year the work was executed. Morandini would have been only around seventeen years old.

    Inscription

    Upper right, on book: 1561

    Provenance

    Anonymous collection (or anonymous dealer), Italy. Bernard Berenson, Florence; 1890 Edward Perry Warren (buying through Berenson); 1890 MFA (gift of Warren; formerly as Florentine school) (Accession date: November 4, 1890)

    Credit Line

    Gift of Edward Perry Warren

    Details

    Dimensions

    126 x 102.9 cm (49 5/8 x 40 1/2 in.)

    Accession Number

    90.165

    Medium or Technique

    Oil on panel

    On View

    Museum Council Gallery (Gallery 254)

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  • The Lamentation over the Dead Christ

    Marco Basaiti (Italian (Venetian), active in 1496–1530)

    Description

    Provenance

    1889, Count Ludwig von Paar (d. by 1893), Rome [see note 1]; March 20-28, 1889, Paar sale, Palazzo Venezia, Rome [see note 2], to Edmund P. Warren; by 1890, given by Edmund P. Warren to his father, Edward Perry Warren, Boston; 1890, gift of Edmund Perry Warren to the MFA. (Accession date: December 2, 1890) NOTES: [1] Paar was an Austrian ambassador in Italy. [2] Attributed to Cima da Conegliano.

    Credit Line

    Gift of Edward Perry Warren

    Details

    Dimensions

    57.1 x 65.4 cm (22 1/2 x 25 3/4 in.)

    Accession Number

    90.201

    Medium or Technique

    Oil on panel

    Not On View

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  • Adoration of the Shepherds

    Benedetto Gennari II (Italian (Bolognese), 1633–1715)

    Description

    Provenance

    1858, Auguste Biedermann, Vienna and Rome; 1858, sold by Biedermann in Rome to Mrs. Turner Sargent, Boston [See note 1]; 1894, bequeathed by Mrs. Sargent to the MFA [See note 2]. (Accession Date: November 1, 1894) Notes: [1] According to a note in the will of Mrs.Sargent, during the arrangements for purchase, customs and shipping of the painting, the Franco-Austrian War broke out and the painting was sent to Leghorn (Livorno, Italy) before being shipped, several months later, to the US. [2] The painting was accessioned as a work by Lodovico Caracci.

    Credit Line

    Turner Sargent Collection—Bequest of Mrs. Turner Sargent (Amelia J. Holmes)

    Details

    Dimensions

    96.2 x 127.6 cm (37 7/8 x 50 1/4 in.)

    Accession Number

    94.173

    Medium or Technique

    Oil on canvas

    Not On View

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  • Two Angels

    Piero di Cosimo (Italian (Florentine), about 1462–about 1521)

    Description

    Provenance

    By 1873, Mrs. Turner Sargent, Boston; 1894, bequest of Mrs. Turner Sargent to the MFA [see note 1]. (Accession Date: November 1, 1894) NOTES: [1] Formerly attributed to Girolamo della Pacchia.

    Credit Line

    Turner Sargent Collection—Bequest of Mrs. Turner Sargent (Amelia J. Holmes)

    Details

    Dimensions

    87.3 x 64.5 cm (34 3/8 x 25 3/8 in.)

    Accession Number

    94.180

    Medium or Technique

    Oil transferred from panel to canvas

    Out on Loan

    On display at Galleria degli Uffizi, June 23, 2015 – September 27, 2015

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  • Judith with the Head of Holofernes

    1640s
    Massimo Stanzione (Italian (Neapolitan), 1585–1656)

    Description

    Provenance

    By 1894 Mrs. Turner Sargent, Boston; 1894 MFA (bequest of Sargent; formerly as Neapolitan school) (Accession date: November 1, 1894)

    Credit Line

    Turner Sargent Collection—Bequest of Mrs. Turner Sargent (Amelia J. Holmes)

    Details

    Dimensions

    124.5 x 103.5 cm (49 x 40 3/4 in.)

    Accession Number

    94.181

    Medium or Technique

    Oil on canvas

    Not On View

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  • Triumph of Galatea

    Unidentified artist, Italian, 18th century (Italian)

    Description

    Provenance

    By 1894 Mrs. Turner Sargent, Boston; 1894 MFA (bequest of Sargent; formerly as copy after Raphael) (Accession date: November 1, 1894)

    Credit Line

    Turner Sargent Collection—Bequest of Mrs. Turner Sargent (Amelia J. Holmes)

    Details

    Dimensions

    32.4 x 27.0 cm (12 3/4 x 10 5/8 in.)

    Accession Number

    94.183

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Man and a Boy (Count Alborghetti & Son)

    about 1545–50
    Giovanni Battista Moroni (Italian (Bergamese), about 1520–1578)

    Description

    Provenance

    By 1800, Teodoro Lechi (b. 1778 - d. 1866), Brescia; 1802, sold by Lechi to Richard Vickris Pryor (d. 1805), Blaire's Castle, near Bristol (painting probably remained in Italy) [see note 1]. Alborghetti collection, Bergamo; sold by Alborghetti family to Henry Doetsch (d. by 1895), London [see note 2]; June 22-25, 1895, posthumous Doetsch sale, Christie's, London, lot 63, to Colnaghi and Murray (joint account) [see note 3]; 1895, sold by Colnaghi to Bernard Berenson for the MFA for $3079. (Accession Date: December 1, 1895) NOTES: [1] This is the address given on the sale contract. No such castle now exists; perhaps Blaise Castle was intended. Pryor did not take the paintings back to England. He may have sold some in Rome in 1803; others remained in Milan with Francesco Ciceri, who managed the 1802 sale, and were dispersed after his death in 1834. See Nicholas Penny, The Sixteenth Century Italian Paintings, vol. 1, Paintings From Bergamo, Brescia and Cremona, National Gallery Catalogues series (London: National Gallery Company, 2004), pp. 197, 386-387. [2] According to the catalogue of the Doetsch sale ("Catalogue of the Highly Important Collection of Pictures by Old Masters of Henry Doetsch, Esq.," Christie, Manson, and Woods, London, June 22-25, 1895, p. 18, lot 63). [3] Sold as "Portraits of Count Alborghetti of Bergamo and his Son." Information about the buyers was provided by the Getty Provenance Index.

    Credit Line

    Museum purchase with funds donated by Mrs. Turner Sargent (Amelia J. Holmes)—Turner Sargent Fund

    Details

    Dimensions

    98.1 x 83.5 cm (38 5/8 x 32 7/8 in.)

    Accession Number

    95.1371

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Nagoya/Boston Museum of Fine Arts, Japan, September 19, 2015 – February 21, 2016

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  • Virgin and Child with Saint John the Baptist

    about 1500
    Sandro Botticelli (Italian (Florentine), 1444 or 1445–1510)

    Description

    Botticelli was renowned for the refinement and sweet delicacy of his figures. Patronized by the leading families of Florence, he also received important public commissions and ran a large workshop with many assistants. This painting, intended for private devotion, possesses characteristics of Botticelli’s later manner-a certain stiffness in the profiles and drapery folds, a continued elegance as in the hands of the Virgin and Saint John, and such improvised details as the free painting of roses on top of the lilies originally sketched at right.

    Provenance

    By 1854, E. Joly de Bammeville, Paris; June 12, 1854, sold by Bammeville at Christie's, London, lot 51 and bought by Alexander Barker, London and Hatfield (near Doncaster), South Yorkshire, England; June 6, 1874, sold by Barker at Christie's, London, lot 91, and bought by Brooks. By 1895, Charles Fairfax Murray, London and Florence; 1895, sold by Murray to Agnew's, London (Agnew's stock no. 7172); 1895, sold by Agnew's to Dr. William Sturgis Bigelow, Boston (d. 1926) for the MFA for $5000. (Accession Date: December 1, 1895)

    Credit Line

    Sarah Greene Timmins Fund

    Details

    Dimensions

    123.8 x 84.4 cm (48 3/4 x 33 1/4 in.)

    Accession Number

    95.1372

    Medium or Technique

    Tempera on panel

    On View

    Italian Renaissance Gallery E (Gallery 219)

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  • Virgin and Child with Four Angels

    1470s (?)
    Sano di Pietro (Italian (Sienese), 1405–1481)

    Description

    Provenance

    By 1897 Caroline Isabella Wilby; 1897 MFA (bequest of Wilby) (Accession date: May 1, 1897)

    Credit Line

    Bequest of Caroline Isabella Wilby

    Details

    Dimensions

    65.4 x 47.0 cm (25 3/4 x 18 1/2 in.)

    Accession Number

    97.229

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and the Dead Christ with the Ascension and Saints

    1485
    Bartolomeo Vivarini (Italian (Venetian), active about 1440, died after 1500)

    Description

    This monumental altarpiece is distinctive both because it weaves together painting and sculpture and because it is nearly intact, including the ornate gothic frame. In the lower tier, the presence of saints Benedict (far left) and Scholastica (far right), founders of the Benedictine Order, indicate that the altarpiece was created for a Benedictine monastery. In the center is a carved Pietà, an image of the Virgin holding her dead son in her lap. Vivarini painted the altarpiece in Venice and shipped it to Dalmatia, on the coast of Croatia. The Gothic taste-seen in the wiry saints, the lavish carving and gilding, and the pointed arches of the frame-lingered longer in Venice and its colonies than in more progressive cities such as Florence.

    Inscription

    Signed and dated below central Pietá on the base of the sculpture: FACTVM VENETIIS PER BARTOLOMEVM VIVARINVM DE VMRIANO PINXIT 1485.

    Provenance

    1485, church of St. Andrew, Rab, Croatia (original commission). 1876, Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1901, gift of Quincy Adams Shaw to the MFA. (Accession Date: January 9, 1901)

    Credit Line

    Gift of Quincy Adams Shaw

    Details

    Dimensions

    236.09 x 198 cm (92 15/16 x 77 15/16 in.)

    Accession Number

    01.4

    Medium or Technique

    Carved and painted wood; tempera and oil on panel

    On View

    Museum Council Gallery (Gallery 254)

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  • The Annunciation with God the Father

    1615–20
    Jacopo Palma il Giovane (Palma the Younger) (Italian (Venetian), about 1548–1628)

    Description

    Provenance

    About 1615/1620, painted for the Church of S. Giovanni dei Furlani (also known as S. Giovanni del Tempio, or S. Giovanni della Commenda di Malta), Venice; about 1806/1810, removed upon the closure of the church [see note 1], given to the Venetian State Property Office and stored at the Scuola di San Giovanni Evangelista, Venice; by 1837, marked by the Venetian State Property Office and removed to the Palazzo Ducale, Venice [see note 2]; by 1853, moved to the Scuola di San Giuliano, Venice; July 6, 1855 – September 30, 1856, auctioned at San Giuliano to an unknown buyer. By 1884, Quincy Adams Shaw (b. 1825 - d. 1908), Boston [see note 3]; 1901, gift of Quincy Adams Shaw to the MFA. (Accession Date: January 9, 1901) NOTES: [1] The church was closed during the period of Napoleonic rule. On the history of this painting until the time of its sale in 1855/1856, see Lorenzo Carlo Castello, Le Pitture Veneziane di Leopoli (Turin: Daniela Piazza, 1988), pp. 11-29. [2] Marked DPV for the Demanio Province Venete, or Venetian State Property Office, and numbered 53. [3] First lent to the MFA in August, 1884.

    Credit Line

    Gift of Quincy Adams Shaw

    Details

    Dimensions

    389.9 x 177.8 cm (153 1/2 x 70 in.)

    Accession Number

    01.5

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Mocking of Christ

    1580s
    Jacopo Bassano (Italian (Venetian), 1510–1592), Francesco Bassano II (Italian (Venetian), 1549–1592)

    Description

    Provenance

    1901, anonymous gift to the MFA. (Accession Date: January 9, 1901)

    Credit Line

    Anonymous gift

    Details

    Dimensions

    189.2 x 135.2 cm (74 1/2 x 53 1/4 in.)

    Accession Number

    01.6

    Medium or Technique

    Oil on canvas

    Not On View

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  • Woman Holding Two Tablets (the Cumaean Sibyl?)

    1530s
    Bonifazio de' Pitati (Italian (Venetian), 1487–1553)

    Description

    Provenance

    1901, Thomas Agnew and Sons, London; 1901, sold by Agnew to Major Henry Lee Higginson (b. 1834 - d. 1919), Boston; 1901, gift of Henry Lee Higginson to the MFA. (Accession date: July 1, 1901)

    Credit Line

    Gift of Major Henry Lee Higginson in memory of Edward H. Hooper

    Details

    Dimensions

    91.2 x 78.1 cm (35 7/8 x 30 3/4 in.)

    Accession Number

    01.6215

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Coronation of the Virgin

    1859–60
    Pietro Nardi (active 1860s), After Fra Angelico (Italian (Florentine), about 1395/1400–1455)

    Description

    After a paintingin the Uffizi, Florence

    Inscription

    Reverse: Pietro Nardi di Firenze / fece nell'anno 1859–1860

    Provenance

    Until 1874, probably Gardner Brewer (b. 1806 - d. 1874), Boston; probably by descent to his daughter, Caroline Abigail Brewer (Mrs. Arthur) Croft (d. 1898), Boston; 1901, bequest of Mrs. Arthur Croft to the MFA. (Accession Date: July 1, 1901)

    Credit Line

    Bequest of Mrs. Arthur Croft—The Gardner Brewer Collection

    Details

    Dimensions

    115.6 x 113 cm (45 1/2 x 44 1/2 in.)

    Accession Number

    01.6216

    Medium or Technique

    Tempera on panel

    Not On View

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  • Lamentation over the Dead Christ

    1485
    Carlo Crivelli (Italian (Venetian), about 1430–35–about 1495)

    Description

    A native of Venice, Crivelli spent his career mostly in the Marches, along Italy’s Adriatic coast, where he perfected a very personal art of intense emotion and ornamental splendor. In this painting, acute suffering is conveyed by the variety of grieving expressions and by the intertwined hands of Saint John and Christ-one tense with grief, the other rigid in death. At the same time, the striking swag of fruit and vegetables and the three-dimensional decoration in the haloes and costumes give this image the quality of a precious object. The picture’s shape and its viewing point, well below the level of the figures, suggest that it may have been the central panel of the upper tier of an altarpiece.

    Provenance

    By 1856, Ferdinand Panciatichi-Ximenes (b. 1813 - d. 1897), Florence [see note 1]; about 1901, sold from the Panciatichi-Ximenes collection to John Marshall for Edward Perry Warren (b. 1860 - d. 1928), Lewes, East Sussex, England [see note 2]; 1902, sold by Edward Perry Warren to the MFA for £ 1000. (Accession Date: February 17, 1902) NOTES [1] Seen by Otto Mündler on September 23, 1856, as recorded in Book I of his travel diaries, fol. 63v ("Palazzo Panciatichi. ... A charming little 'Pietá' by Carlo Crivelli, signed and dated 1485"). See "The Travel Diaries of Otto Mündler, 1855-1858," Walpole Society, vol. 51 (1985), p. 131. [2] A label on the reverse of the panel bears a customs stamp from Milan and is dated 1901. Also see Walter Muir Whitehill, "Museum of Fine Arts, Boston: A Centennial History" (Cambridge, MA, 1970), vol. 1, p. 190. John Marshall was a friend of Edward Warren and often purchased on his behalf.

    Credit Line

    Anonymous Gift and Julia Bradford Huntington James Fund

    Details

    Dimensions

    88.3 x 53 cm (34 3/4 x 20 7/8 in.)

    Accession Number

    02.4

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin Holding the Dead Christ, with Saints Sebastian, Blaise, Margaret and James the Great

    1513
    Gaspare Negro (Italian (Venetian), active in 1503–1544)

    Description

    Inscription

    Lower center, on base of throne: Gaspar Niger

    Provenance

    1902, Cornelius Conway Felton, Santa Barbara, CA; 1902, gift of Cornelius Conway Felton to the MFA. (Accession date: December 1, 1902)

    Credit Line

    Gift of Cornelius Conway Felton

    Details

    Dimensions

    199 x 177.2 cm (78 3/8 x 69 3/4 in.)

    Accession Number

    02.681

    Medium or Technique

    Oil transferred from panel to canvas mounted on panel

    Not On View

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  • The Adoration of the Christ Child with the Dove of the Holy Spirit

    last third of the 15th century
    Argonaut Master (Italian (Florentine), active last third of the 15th century)

    Description

    Provenance

    George Washington Wales (b. 1815 - d. 1896), Boston; 1903, bequest of George Washington Wales to the MFA. (Accession Date: January 15, 1903)

    Credit Line

    Bequest of George Washington Wales

    Details

    Dimensions

    85.6 x 47.3 cm (33 11/16 x 18 5/8 in.)

    Accession Number

    03.562

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child with Saints John the Baptist, James, Peter, and a Virgin Martyr (Catherine?)

    1420s
    Master of the Bracciolini Chapel (Italian (Tuscany), active in the first third of the 15th century)

    Description

    Provenance

    George Washington Wales (b. 1815 - d. 1896), Boston; 1903, bequest of George Washington Wales to the MFA. (Accession Date: January 15, 1903)

    Credit Line

    Bequest of George Washington Wales

    Details

    Dimensions

    75.9 x 47.2 cm (29 7/8 x 18 3/5 in.)

    Accession Number

    03.563

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child with Saints Mary Magdalen and John the Baptist

    late 14th century–early 15th century
    Lippo d'Andrea di Lippo (Italian (Florentine), 1370 or 1371–before 1451)

    Description

    Provenance

    George Washington Wales (b. 1815 - d. 1896), Boston; 1903, bequest of George Washington Wales to the MFA. (Accession Date: January 15, 1903)

    Credit Line

    Bequest of George Washington Wales

    Details

    Dimensions

    80.5 x 50.3 cm (31 11/16 x 19 13/16 in.)

    Accession Number

    03.564

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child Enthroned with Four Saints

    Imitator of Giotto di Bondone (Ambrogio Bondone Giotto) (Italian, 1266–1336)

    Description

    Provenance

    George Washington Wales (b. 1815 - d. 1896), Boston; 1903, bequest of George Washington Wales to the MFA. (Accession Date: January 15, 1903)

    Credit Line

    Bequest of George Washington Wales

    Details

    Dimensions

    46.4 x 34.9 cm (18 1/4 x 13 3/4 in.)

    Accession Number

    03.566

    Medium or Technique

    Oil on panel

    Not On View

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  • Martyrdom of Saint Bartholomew

    about 1404–10
    Lorenzo di Niccolò di Martino (Italian (Florentine), active 1392–1412)

    Description

    Provenance

    By 1904, Miss Catherine Sherwood; 1904, gift of Miss Catherine Sherwood. (Accession date: April 7, 1904)

    Credit Line

    Gift of Miss Catherine Sherwood

    Details

    Dimensions

    28.9 x 31.1 cm (11 3/8 x 12 1/4 in.)

    Accession Number

    04.237

    Medium or Technique

    Tempera on panel

    Not On View

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  • Ruins in the Roman Campagna

    Giovanni Costa (Italian, 1826–1903)

    Description

    Provenance

    By 1904, Sarah Wyman Whitman; 1904 - Boston, MA, USA. Boston Museum of Fine Arts (bequest of Whitman) (Accession date: November 3, 1904)

    Credit Line

    Bequest of Sarah Wyman Whitman

    Details

    Dimensions

    21 x 42.9 cm (8 1/4 x 16 7/8 in.)

    Accession Number

    04.1616

    Medium or Technique

    Oil on panel

    Not On View

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  • The Crowning of Merit

    Apotheosis of a Poet
    Allegory of Merit

    1755–60
    Giovanni Battista Tiepolo (Italian (Venetian), 1696–1770)

    Description

    Tiepolo was internationally acclaimed for his illusionistic, grand-scale paintings. This bozzetto, or sketch for a larger work, was made as a preparatory study for one of his many elaborate ceiling paintings. Diagonal composition, expressive movement, and radiant light are used to create space that opens expansively above the viewer. Although such sketches were made primarily to assist the artist in compositional arrangement, Tiepolo’s rich palette, lively brushstroke, and silvery light make them lively and convincing works in their own right.

    Provenance

    Until 1889, David P. Sellar, London; June 6, 1889, Sellar sale, Galerie Georges Petit, Paris, lot 80. 1904, Charles Fairfax Murray, London and Florence; 1904, from Murray to Denman Waldo Ross, Cambridge, MA; 1906, gift of Denman Waldo Ross to the MFA. (Accession date: March 8, 1906)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    37.1 x 42.9cm (14 5/8 x 16 7/8in.) Other (Oval design; Oval Design): 34 x 43cm (13 3/8 x 16 15/16in.) Framed: 51.4 x 60.3 x 5.1 cm (20 1/4 x 23 3/4 x 2 in.)

    Accession Number

    06.118

    Medium or Technique

    Oil on canvas

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Saint Sebastian

    After Raphael (Raffaello Sanzio or Santi) (Italian, 1483–1520)

    Description

    After a painting in the Accademia Carrara, Bergamo

    Provenance

    By 1882 - 1906 Denman Waldo Ross, (Cambridge, MA, USA); 1906 - Boston, MA, USA. Museum of Fine Arts (gift of Ross) (Accession date: March 8, 1906)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    46.0 x 37.1 cm (18 1/8 x 14 5/8 in.)

    Accession Number

    06.120

    Medium or Technique

    Oil on panel

    Not On View

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  • Virgin and Child with Two Angels

    about 1480
    Guidoccio Cozzarelli (Italian (Sienese), 1450–about 1516)

    Description

    Provenance

    By 1906, Denman Waldo Ross (b. 1853 - d. 1935), Cambridge, Ma; 1906, gift of Ross to the MFA. (Accession date: March 8, 1906)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    44.2 x 31.6 cm (17 3/8 x 12 7/16 in.)

    Accession Number

    06.121

    Medium or Technique

    Tempera on panel

    Not On View

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  • Description

    Inscription

    Upper left: G [...] FACEB [...]

    Provenance

    By 1906 Mrs. Martin Brimmer, (Boston, MA, USA) (Mary Ann Timmins); 1906 - Boston, MA, USA. Museum of Fine Arts (bequest of Brimmer) (Accession date: November 8, 1906)

    Credit Line

    Bequest of Mrs. Martin Brimmer

    Details

    Dimensions

    42.3 x 34.0 cm (16 5/8 x 13 3/8 in.)

    Accession Number

    06.2417

    Medium or Technique

    Oil on panel

    Not On View

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  • Cassone with three painted panels

    Front Panel: Scenes from the Aeneid (?)
    End Panel: Rape of Ganymede
    End Panel: Io and Argus

    Paintings: possibly after 1465; cabinetry: late 19th century
    Workshop of Apollonio di Giovanni di Tomaso (Italian (Florentine), about 1416–1465), and Marco del Buono di Marco (Italian (Florentine), about 1402–1489), Cabinetmaker Unidentified artist, Italian (Florentine), 19th century (Italian (Florence))

    Description

    Provenance

    By 1906, with Mrs. Martin Brimmer, d. 1906 (Boston, MA, USA) (Mary Ann Timmins); 1906 - Boston, MA. Boston Museum of Fine Arts (bequest of Brimmer) (Accession date: November 8, 1906)

    Credit Line

    Bequest of Mrs. Martin Brimmer

    Details

    Dimensions

    Overall: 99.1 x 208.3 x 73.7 cm (39 x 82 x 29 in.) Overall (Scenes from the Aeneid (?)): 38.1 x 140 cm (15 x 55 1/8 in.) Overall (End panels): 38 x 40 cm (14 15/16 x 15 3/4 in.)

    Accession Number

    06.2441

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child

    about 1447–49
    Sano di Pietro (Italian (Sienese), 1405–1481)

    Description

    Provenance

    By 1907, Alice Crowninshield (Mrs. Josiah) Bradlee (b. 1839 - d. 1926), Boston; 1907, gift of Mrs. Josiah Bradlee to the MFA. (Accession date: February 14, 1907)

    Credit Line

    Gift of Mrs. Josiah Bradlee

    Details

    Dimensions

    33.1 x 21.7 cm (13 5/165 x 8 9/16 in.)

    Accession Number

    07.78

    Medium or Technique

    Tempera on panel

    On View

    Italian Renaissance Gallery (Gallery 206)

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  • The Frozen Lagoon, Venice

    Unidentified artist, Italian (Venetian), 4th quarter 18th century (Italian (Venetian))

    Description

    Provenance

    By 1907, Denman Waldo Ross (b. 1853 - d. 1935), Cambridge, MA; 1907, gift of Ross to the MFA. (Accession date: August 8, 1907)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    34.3 x 49.5 cm (13 1/2 x 19 1/2 in.)

    Accession Number

    07.483

    Medium or Technique

    Oil on canvas

    Not On View

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  • Triptych: Saint Jerome

    about 1470 (?)
    Sano di Pietro (Italian (Sienese), 1405–1481)

    Description

    Provenance

    Early 19th century, Count Carlo Vicoli-Caccialupi, San Severino Marche, Italy [see note 1]; by descent to Gaetano Alovisi Caccialupi (d. 1839) [see note 2]; by inheritance to his widow, Laura Antinori; 1860, sold by Antinori to Giuseppe Zucchi, Fabriano [see note 3]. After 1870, Augusto Caccialupi (b. 1834 - d. 1897), Macerata; about 1893, probably sold by Count Augusto Caccialupi to Robert Jenkins Nevin (b. 1839 - d. 1906); April 22-27, 1907, posthumous Nevin sale, Galleria Sangiorgi, Rome, lot 39. 1907, anonymous collector; 1907, gift of the anonymous collector to the MFA. (Accession Date: October 10, 1907) NOTES: [1] On the history of this panel and its companions (07.515b-c), see Vittorio Aleandri, "Il Palazzo in Roma, la famiglia e il ritratto di Giambattista Caccialupi Sanseverinate," Arte e Storia 27 (1908): 138 and Raoul Paciaroni, Un Dipinto Sanseverinate in America (San Severino, 1984), pp. 33-35. [2] In October 1828, Giuseppe Rinaldi visited the home of Gaetano Alovisi Caccialupi and described this triptych; see Paciaroni (as above, n. 1), pp. 33-34. [3] Giuseppe Ranaldi, in Memorie di belle arti, vol. I, P. I, cc. 74-74v; vol. II, p. 153, wrote that Gaetano Alovisi Caccialupi's widow, Laura Antinori, sold the paintings in 1860 to Padre Zucchi, the curate of San Pietro in Gubbio, who said he was acquiring them for Monsignor Badia, the delegate from Pesaro. In fact, they were sold to Giuseppe Zucchi of Fabriano, who worked as an art dealer. Consequently they returned to the Caccialupi family -- probably after 1870, as they do not appear in the catalogue of Count Augusto's collection published in that year. How and when Count Augusto acquired them is not clear. See Paciaroni (as above, n. 1) and ibid., Bernardino di Mariotto da Perugia, il ventennio sanseverinate (1502-1521), 2005, p. 93.

    Credit Line

    Anonymous gift

    Details

    Dimensions

    95 x 51.1 cm (37 3/8 x 20 1/8 in.)

    Accession Number

    07.515a

    Medium or Technique

    Tempera on panel

    Not On View

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  • Triptych: The Virgin and Child with the Blessing Christ, Two Angels and a Donor

    Sano di Pietro (Italian (Sienese), 1405–1481)

    Description

    Provenance

    Early 19th century, Count Carlo Vicoli-Caccialupi, San Severino Marche, Italy [see note 1]; by descent to Gaetano Alovisi Caccialupi (d. 1839) [see note 2]; by inheritance to his widow, Laura Antinori; 1860, sold by Antinori to Giuseppe Zucchi, Fabriano [see note 3]. After 1870, Augusto Caccialupi (b. 1834 - d. 1897), Macerata; about 1893, probably sold by Count Augusto Caccialupi to Robert Jenkins Nevin (b. 1839 - d. 1906); April 22-27, 1907, posthumous Nevin sale, Galleria Sangiorgi, Rome, lot 39. 1907, anonymous collector; 1907, gift of the anonymous collector to the MFA. (Accession Date: October 10, 1907) NOTES: [1] On the history of this panel and its companions (07.515a, c), see Vittorio Aleandri, "Il Palazzo in Roma, la famiglia e il ritratto di Giambattista Caccialupi Sanseverinate," Arte e Storia 27 (1908): 138 and Raoul Paciaroni, Un Dipinto Sanseverinate in America (San Severino, 1984), pp. 33-35. [2] In October 1828, Giuseppe Rinaldi visited the home of Gaetano Alovisi Caccialupi and described this triptych; see Paciaroni (as above, n. 1), pp. 33-34. [3] Giuseppe Ranaldi, in Memorie di belle arti, vol. I, P. I, cc. 74-74v; vol. II, p. 153, wrote that Gaetano Alovisi Caccialupi's widow, Laura Antinori, sold the paintings in 1860 to Padre Zucchi, the curate of San Pietro in Gubbio, who said he was acquiring them for Monsignor Badia, the delegate from Pesaro. In fact, they were sold to Giuseppe Zucchi of Fabriano, who worked as an art dealer. Consequently they returned to the Caccialupi family -- probably after 1870, as they do not appear in the catalogue of Count Augusto's collection published in that year. How and when Count Augusto acquired them is not clear. See Paciaroni (as above, n. 1) and ibid., Bernardino di Mariotto da Perugia, il ventennio sanseverinate (1502-1521), 2005, p. 93.

    Credit Line

    Anonymous gift

    Details

    Dimensions

    122.2 x 70.5 cm (48 1/8 x 27 3/4 in.)

    Accession Number

    07.515b

    Medium or Technique

    Tempera on panel

    Not On View

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  • Triptych: Saint Catherine of Siena

    Sano di Pietro (Italian (Sienese), 1405–1481)

    Description

    Provenance

    Early 19th century, Count Carlo Vicoli-Caccialupi, San Severino Marche, Italy [see note 1]; by descent to Gaetano Alovisi Caccialupi (d. 1839) [see note 2]; by inheritance to his widow, Laura Antinori; 1860, sold by Antinori to Giuseppe Zucchi, Fabriano [see note 3]. After 1870, Augusto Caccialupi (b. 1834 - d. 1897), Macerata; about 1893, probably sold by Count Augusto Caccialupi to Robert Jenkins Nevin (b. 1839 - d. 1906); April 22-27, 1907, posthumous Nevin sale, Galleria Sangiorgi, Rome, lot 39. 1907, anonymous collector; 1907, gift of the anonymous collector to the MFA. (Accession Date: October 10, 1907) NOTES: [1] On the history of this panel and its companions (07.515a-b), see Vittorio Aleandri, "Il Palazzo in Roma, la famiglia e il ritratto di Giambattista Caccialupi Sanseverinate," Arte e Storia 27 (1908): 138 and Raoul Paciaroni, Un Dipinto Sanseverinate in America (San Severino, 1984), pp. 33-35. [2] In October 1828, Giuseppe Rinaldi visited the home of Gaetano Alovisi Caccialupi and described this triptych; see Paciaroni (as above, n. 1), pp. 33-34. [3] Giuseppe Ranaldi, in Memorie di belle arti, vol. I, P. I, cc. 74-74v; vol. II, p. 153, wrote that Gaetano Alovisi Caccialupi's widow, Laura Antinori, sold the paintings in 1860 to Padre Zucchi, the curate of San Pietro in Gubbio, who said he was acquiring them for Monsignor Badia, the delegate from Pesaro. In fact, they were sold to Giuseppe Zucchi of Fabriano, who worked as an art dealer. Consequently they returned to the Caccialupi family -- probably after 1870, as they do not appear in the catalogue of Count Augusto's collection published in that year. How and when Count Augusto acquired them is not clear. See Paciaroni (as above, n. 1) and ibid., Bernardino di Mariotto da Perugia, il ventennio sanseverinate (1502-1521), 2005, p. 93.

    Credit Line

    Anonymous gift

    Details

    Dimensions

    95.3 x 51.8 cm (37 1/2 x 20 3/8 in.)

    Accession Number

    07.515c

    Medium or Technique

    Tempera on panel

    Not On View

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  • Saint Lucy

    about 1340
    Jacopo del Casentino (Italian (Tuscany), active about 1315–1349)

    Description

    Provenance

    Part of church door (?), Rome, Italy. Until 1845, with John Low and Darius Chase, Boston, MA; 1845, from Low and Chase to Massachusetts Historical Society, Boston, MA; 1910, gift of the Massachusetts Historical Society, through Granville H. Norcross. (Accession date: June 3, 1910)

    Credit Line

    Gift of the Massachusetts Historical Society

    Details

    Dimensions

    Overall: 91.6 x 35.5cm (36 1/16 x 14in.) Other (picture surface): 87.6 x 33 cm (34 1/2 x 13 in.)

    Accession Number

    10.37

    Medium or Technique

    Tempera on panel

    Not On View

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  • The Holy Family with St Anne and Young St John the Baptist

    about 1500–50
    Unidentified artist, Italian (Florentine), 1st half 16th century (Italian (Florentine))

    Description

    Provenance

    By 1842, Edward Everett, from unknown source (buying for Peter Chardon Brooks); 1842 - 1849 Peter Chardon Brooks (Medford, MA, USA) buying through Everett; d. 1849 [Brooks was the father-in-law of Edward Everett; Brooks d. 1849]; 1849 - 1891 Mr. and Mrs. Peter Chardon Brooks (Abigail Brown Brooks) by inheritance; (Boston, MA, USA) d. 1891; 1891 - 1911 Mr. and Mrs. Charles Francis Adams (Mary Hone Ogden) by inheritance; (South Lincoln, MA, USA) d. 1915; 1911 - Boston, MA, USA. Museum of Fine Arts (gift of Adams) (Accession date: April 6, 1911)

    Credit Line

    Gift of Mary Ogden Adams and Charles Francis Adams

    Details

    Dimensions

    142.2 x 108.9 cm (56 x 42 7/8 in.)

    Accession Number

    11.1263

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Man

    1490s
    Andrea Solario (Italian (Milanese), about 1465–1524)

    Description

    Although this portrait resembles works by other Milanese followers of Leonardo da Vinci – notice the delicate gradations of shadow and the application of paint without visible brushstrokes – it may have been painted when Solario was working in Venice, a city where portraits were particularly popular. The sitter’s stern expression and the aggressive way his fist seems to press against the frame are somewhat softened by his wispy hair and the gentle landscape visible through the arched window.

    Provenance

    By 1815, Giovanni Albarelli, Verona [see note 1]; probably sold by Albarelli to Count Ludovico Bertolazzone d'Arrache, Turin [see note 2]; probably by inheritance to his nephew, Count Lorenzo Castellani, Turin [see note 3]. By 1881, Sir William Neville Abdy, 2nd Bt. (b. 1844 - d. 1910), London [see note 4]; May 5, 1911, Abdy sale, Christie, Manson and Woods, London, lot 123 [see note 5], to Dowdeswell and Dowdeswell, Ltd., London; 1911, sold by Dowdeswell and Dowdeswell to the MFA. (Accession Date: July 6, 1911) NOTES: [1] In 1815 Albarelli commissioned a volume of pen drawings of his collection. This painting was included, attributed to Giovanni Bellini. See Nicholas Penny, The Sixteenth Century Italian Paintings, vol. 1, Paintings from Bergamo, Brescia and Cremona, National Gallery Catalogues series (London: National Gallery Company, 2004), 359. [2] Count Ludovico seems to have purchased many paintings in his collection around the 1820s and 1830s, and acquired at least one other painting from Albarelli. Upon his death, his collection passed by descent to his nephew, Lorenzo Castellani. See Penny, 2004 (as above, n. 1). [3] In his travel diaries (f. 20v), Otto Mündler recorded seeing this painting on October 12, 1857 in the collection of Lorenzo Castellani, Turin. [4] Lent to the Royal Academy, London, "Winter Exhibition," 1881, attributed to F. Francia. [5] As "Portrait of Giovanni Bentivoglio of Bologna."

    Credit Line

    Picture Fund

    Details

    Dimensions

    47.9 x 38.4 cm (18 7/8 x 15 1/8 in.)

    Accession Number

    11.1450

    Medium or Technique

    Oil on panel

    Not On View

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  • Procession of Gondolas in the Bacino di San Marco

    about 1780–93
    Francesco Guardi (Italian (Venetian), 1712–1793)

    Description

    Like Canaletto, Guardi was a painter of vedute or views of his native Venice. He was particularly drawn to festive and ceremonial subjects, such as this procession of gondolas, which may be part of the entourage of the annual celebration of Venice’s “Marriage to the Sea.” In the background, warships hail the returning boats with cannon salutes. On the left is the church of San Giorgio Maggiore, which also appears in Canaletto’s Bacino di San Marco, Venice. Compared to the precise handling of Canaletto’s painting, Guardi’s is freer and more atmospheric, with lively brushwork, less detail, and a greater contrast of light and shadow.

    Provenance

    Captain Harvey (possibly John Edmund Audley Harvey, b. 1851 - d. 1937, Ickwell Bury, Bedfordshire, England) [see note 1]. With Dowdeswell and Dowdeswell, London [see note 2]. July 11, 1907, sold by Calouste Gulbenkian (b. 1869 - d. 1955) to Thomas Agnew and Sons, London (stock no. 2314); July 7, 1909, sold by Agnew to Michele Lazzaroni, Paris [see note 3]. 1911, Trotti et Companie, Paris; 1911, sold by Trotti to Jules Guiffrey for the MFA for 135, 000 fr. (Accession Date: July 6, 1911) NOTES: [1] When the painting was sold to the MFA by Trotti in 1911, the receipt noted that it had come from the collection of "Capt. Harvey, London." Captain John Edmund Audley Harvey, an art collector, lived at Ickwell Bury and owned "two fine works by Guardi" (see John Murray, Handbook for Hertfordshire, Bedfordshire, and Huntingdonshire, London, 1895, p. 206). In 1936, Trotti reported that they had handled a second Guardi from the Harvey collection, in 1909. This painting (now Copenhagen, Statens Museum for Kunst, KMS3630), while considered a pendant to the MFA work, was not sold with it, either to Agnew or to Trotti. [2] According to notes in the MFA curatorial file. [3] Getty Research Institute, Records of Thos. Agnew and Sons Ltd., 1852-1938, microfiche no. 29.

    Credit Line

    Picture Fund

    Details

    Dimensions

    98.1 x 138.1 cm (38 5/8 x 54 3/8 in.)

    Accession Number

    11.1451

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Hiroshima Museum of Art, Japan, April 9, 2016 – June 12, 2016

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  • The Mystic Marriage of Saint Catherine

    After Correggio (Antonio Allegri) (Italian (Parmese), about 1489–1534)

    Description

    After a painting in the Museo di Capodimonte, Naples

    Provenance

    Professor Henry Williamson Haynes. By 1912, with Miss Sarah Harding Blanchard; 1912 - Boston, MA, USA. Boston Museum of Fine Arts (gift of Blanchard) (formerly as Northern Italian) (Accession date: June 6, 1912)

    Credit Line

    Gift of Miss Sarah Harding Blanchard from the Estate of Henry Williamson Haynes

    Details

    Dimensions

    26 x 21.9 cm (10 1/4 x 8 5/8 in.)

    Accession Number

    12.378

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Holy Family with the Infant St John the Baptist in the Carpenter Shop

    Unidentified artist, Italian, 18th century (Italian), Formerly attributed to Carlo Maratti (Italian (Roman), 1625–1713)

    Description

    Provenance

    Augustus Thorndike (b. 1797 - d. 1858), Boston; October 25, 1860, posthumous Thorndike sale, Leonard and Co., Boston, lot 95 [see note 1], sold for $281 to John Adams Blanchard (b. 1807 - d. 1872), Boston [see note 2]; 1912, gift of the heirs of John Adams Blanchard to the MFA. (Accession Date: June 6, 1912) NOTES: [1] Attributed to Carlo Maratti. [2] Information about the transaction is taken from notes in the curatorial file.

    Credit Line

    Gift of the heirs of John Adams Blanchard

    Details

    Dimensions

    48.6 x 37.8 cm (19 1/8 x 14 7/8 in.)

    Accession Number

    12.380

    Medium or Technique

    Oil on canvas

    Not On View

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  • Story of Psyche

    about 1490
    Jacopo del Sellaio (Italian (Florentine), about 1441–1493)

    Description

    Venus was jealous of the maiden Psyche and sent Cupid, her son, to make Psyche fall in love with an insignificant man. However, Cupid fell in love with Psyche himself, visiting her in the dark to keep his identity secret. Here, Psyche, at right, views the sleeping Cupid to discover his identity. But oil from her lamp falls on Cupid, awakening him, and he abandons Psyche for her faithlessness. Sellaio’s style is based on that of the principal Florentine painters of his time, particularly Botticelli. The painting originally decorated a wooden chest in which linens and household objects were stored.

    Provenance

    Alexander Barker (d. 1873), London; June 19, 1879, posthumous Barker sale, Christie's, London, lot 487a to Charles H. Butler (d. 1910), London and Warren Wood, Hatfield, Hertford, England; May 25, 1911, Butler sale, Christie's, London, lot 45 [see note 1] to Agnew's, London (stock no. 3666); 1911, from Agnew's to Charles Fairfax Murray (b. 1849 - d. 1919); 1911, possibly from Charles Fairfax Murray to John E. Murray, Florence; 1912, sold by Murray to the MFA. (Accession date: October 3, 1912) NOTES: [1] attributed to Filippino Lippi.

    Credit Line

    Picture Fund

    Details

    Dimensions

    42.1 x 151.8 cm (16 9/16 x 59 3/4 in.)

    Accession Number

    12.1049

    Medium or Technique

    Tempera and oil on panel (cassone panel)

    Not On View

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  • Virgin and Child

    about 1485–90
    Bramantino (Bartolomeo Suardi) (Italian (Milanese), about 1465–1530)

    Description

    This panel is probably the earliest surviving painting by Bramantino, who trained as a goldsmith and later became an important architect and painter in Milan. The strong linearity of Bramantino’s paintings reflects the artist’s early experience incising metal surfaces. As his nickname, “little Bramante,” suggests, Bramantino also adopted much from the paintings of the great Milanese architect Donato Bramante, including his restless figural contours and the lively lines in the draperies. The fortified brick town and the misty lake seen in the background of this painting are typical of the landscape around Milan.

    Provenance

    By 1913, Percy Moore Turner (dealer), London [see note 1]. 1913, sold by Levesque et Cie., Paris, to the MFA for $7,732. (Accession Date: November 6, 1913) NOTES: [1] As published by Roger Fry, "Bramantino," Burlington Magazine 23, no. 126 (September, 1913): 316-317.

    Credit Line

    Picture Fund

    Details

    Dimensions

    46.0 x 35.2 cm (18 1/8 x 13 7/8 in.)

    Accession Number

    13.2859

    Medium or Technique

    Oil and tempera on panel

    Not On View

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  • Virgin and Child Enthroned with Saints Peter, Paul and George (?), Four Angels, and a Donor

    about 1446–49
    Fra Angelico (Italian (Florentine), about 1395/1400–1455)

    Description

    Although the Virgin Mary, seated on a throne, occupies the center of this composition, the gazes of several of the figures are drawn toward the kneeling figure in clerical dress at lower left. This figure, whom Saint Peter presents to the Christ Child, is the donor, who commissioned the painting. The work was originally two-sided, with a head of Christ on the reverse, but its original function remains a mystery since it is much smaller than the trays presented as gifts to new mothers in fifteenth-century Florence.

    Provenance

    By 1869, Henri-Joseph-François, Baron de Triqueti (b. 1804-d. 1874); 1874, by descent to his daughter, Madame Lee Childe, Baronness de Triqueti, Paris; May 4, 1886, Madame Lee Childe sale, Hôtel Drouot, Paris, lot 1, sold to Edouard Aynard (?) (b. 1837-d. 1913), Lyon, France; December 1-4, 1913, Edouard Aynard sale, Galerie Georges Petit, Paris, lot 35, sold to Kleinberger Galleries, New York and Paris; by 1914, sold by Kleinberger Galleries to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1929), Boston, MA; 1914, gift of Mrs. W. Scott Fitz to the MFA. (Accession Date: April 2, 1914)

    Credit Line

    Gift of Mrs. Walter Scott Fitz

    Details

    Dimensions

    24.9 x 24.8 cm (9 13/16 x 9 3/4 in.)

    Accession Number

    14.416

    Medium or Technique

    Tempera on panel

    On View

    Italian Renaissance Gallery E (Gallery 219)

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  • Battle of Pharsalus and the Beheading of Pompey

    about 1456–65
    Apollonio di Giovanni di Tomaso (Italian (Florentine), about 1416–1465), Marco del Buono di Marco (Italian (Florentine), about 1402–1489)

    Description

    Provenance

    Charles Butler (b. 1822 - d. 1910), London [see note 1]; about 1904/1906, possibly sold by Butler to Agnew's, London (stock no. 1143) [see note 2]; 1906, sold by Agnew's to Alexandre Imbert. 1915, Bacri Frères, Paris; 1915, sold by Bacri to the MFA for $3699. (Accession Date: July 15, 1915) NOTES: [1] This cassone panel was first seen by Walter Gay in 1915, when it was with Bacri in Paris. In a letter to the MFA (May 7, 1915) Gay states that it is "undoubtedly by Paolo Uccello...It is from the Butler collection, London -- the latter had a sale in March 1911, though this picture did not figure in _that_ catalogue, being bought at another time." [2] Possibly the picture sold by Butler to Agnew's that was described as "Italian primitive, cassone front, a battle, 20 x 52."

    Credit Line

    Francis Bartlett Donation of 1912

    Details

    Dimensions

    40.6 x 130.8 cm (16 x 51 1/2 in.)

    Accession Number

    15.910

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child

    1360s
    Barnaba da Modena (Italian (Genoese), active in 1361–1383)

    Description

    The decorative details in this painting, particularly the dense striations in the Virgin’s mantle and the minute patterns punched into the gold background, serve to set off the Virgin’s severe gaze. The surviving framing edges indicate that this panel was initially the center section of a polyptych. Later, the picture seems to have received special veneration; repairs to the gilt haloes of both the Virgin and the Christ Child probably cover holes where silver crowns had been attached to the painting’s surface.

    Provenance

    By 1914, Robert Langton Douglas (b. 1864 - d. 1951), London [see note 1]. 1915, Philip J. Gentner (b. 1872), Worcester, MA; 1915, sold by Gentner to Mrs. W. Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; 1915, gift of Mrs. W. Scott Fitz to the MFA. (Accession Date: August 27, 1915) NOTES: [1] In a letter to James S. Plaut of the MFA (October 22, 1936), Robert Langton Douglas writes that while he cannot recall specifically from what collection he had bought the painting, he thinks it may have come from the Fuller Maitland collection. William Fuller Maitland (b. 1844 - d. 1932) of Stansted Hall, Essex, did sell other Italian paintings from his collection to Langton Douglas. However, this painting is not listed in the 1872 catalogue of pictures at Stansted Hall, nor has Langton Douglas's information been otherwise corroborated.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    Panel: 100.3 x 62.8 cm (39 1/2 x 24 3/4 in.)

    Accession Number

    15.951

    Medium or Technique

    Tempera on panel

    On View

    I. W. Colburn Chapel Gallery (Gallery 254A)

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  • Saint Mary Magdalen

    about 1320
    Ugolino di Nerio (Italian (Sienese), active in 1317–1339)

    Description

    Provenance

    1915, Philip Gentner, Worcester, MA; 1915, sold by Gentner to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1929), Boston; 1915, gift of Mrs. Fitz to the MFA [see note 1]. (Accession Date: August 27, 1915) NOTES: [1] Accessioned as a work by Segna di Bonaventura.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    36.5 x 24.8 cm (14 3/8 x 9 3/4 in.)

    Accession Number

    15.952

    Medium or Technique

    Tempera on panel

    Not On View

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  • A Papal Saint (Saint Gregory the Great?)

    about 1380s
    Bartolo di Fredi (Italian (Sienese), active in 1353, died in 1410)

    Description

    Provenance

    Acquired in Italy by Philip J. Gentner, Worcester, MA and New York, NY; 1915, sold by Philip J. Gentner to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth), Boston; 1915, gift of Mrs. Walter Scott Fitz to MFA [see note 1]. (Accession Date: August 27, 1915) Notes: [1] Accessioned as a work of art attributed to the School of Simone Martini.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    36.5 x 16.8 cm (14 3/8 x 6 5/8 in.)

    Accession Number

    15.953

    Medium or Technique

    Tempera on panel

    Not On View

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  • The Mystic Marriage of Saint Catherine

    about 1340
    Barna da Siena (Italian (Sienese), active about 1330–1350)

    Description

    The legendary Saint Catherine of Alexandria had a vision in which Christ took her as his spiritual bride, placing a ring on her finger. Here, the union symbolized by this gesture is echoed in two smaller scenes below: Jesus flanked by his mother and his grandmother, Saint Anne; and two enemies reconciled by an archangel, embracing after casting away their weapons. The images of saints Margaret and Michael subduing demons also evoke the triumph of good over evil. It appears that Arigo di Neri Arighetti, named in the inscription, commissioned the painting to commemorate the end of a feud. The identity of the artist remains controversial, but the subtle depiction of the faces and the sinuous lines of the drapery hems make clear that he was inspired by the great Sienese master Duccio.

    Inscription

    Above lower register: ARIGO DI NERI ARIGHETTI FECE FARE QUESTA TAVOLA

    Provenance

    About 1340, Arigo di Neri Arighetti (original commission). 1858, Robert Macpherson (b. about 1811/1815 - d. 1872), Rome [see note 1]. 1859, William Blundell Spence (b. 1814 - d. 1900), London [see note 2]. Alexander Barker (d. 1873), London (?) [see note 3]; sold from the Barker collection to the uncle of Algernon Sartoris (?); by descent to Algernon Sartoris (b. 1877 - d. 1907), Paris and London; sold by Sartoris to Gimpel and Wildenstein, Paris and New York [see note 4]; 1915, sold by Wildenstein to the MFA for $17,727 [see note 5]. (Accession Date: October 7, 1915) NOTES: [1] Otto Mündler recorded seeing the painting in Rome on May 12, 1858, at the home of Mrs. Anna Jameson, the aunt of Macpherson's wife ("The Travel Diaries of Otto Mündler," Walpole Society 51 (1985): 234). Robert Macpherson was a Scottish artist who moved to Italy in 1840 and worked as a dealer. [2] From London, Spence wrote to Lord Alexander William Lindsay on July 27, 1859, offering three paintings that had just arrived from Rome (whether directly from Macpherson is not known), including the MFA painting, attributed to Simone Martini. Lindsay did not purchase it. See John Fleming, "Art Dealing in the Risorgimento," Burlington Magazine 121 (1979): 503, n. 62 and 579, and Hugh Brigstocke, "Lord Lindsay as Collector," Bulletin of the John Rylands Library 64 (Spring 1982): 321, n. 4. [3] In a letter from Wildenstein, Paris, to Walter Gay of the MFA (December 28, 1915), the painting is said to have been purchased from Sartoris. The dealer believed Sartoris had received it from one of his uncles, who had purchased it from the Barker collection. It cannot be identified with any of the paintings from the Barker auctions of June 6, 1874 or June 21, 1879. [4] In addition to the information provided by Wildenstein (see above, n. 3), René Gimpel of Gimpel and Wildenstein noted on July 7, 1918, that it had come from the Sartis [sic] collection and been exhibited at the Musée des Arts Decoratifs, Paris as a work by Lorenzo Monaco. See his "Diary of an Art Dealer," trans. John Rosenberg (New York, 1966), p. 46. [5] Accessioned as a work by Lippo Memmi.

    Credit Line

    Sarah Wyman Whitman Fund

    Details

    Dimensions

    138.7 x 111.1 cm (54 5/8 x 43 3/4 in.)

    Accession Number

    15.1145

    Medium or Technique

    Tempera on panel

    On View

    Museum Council Gallery (Gallery 254)

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  • Virgin and Child Enthroned

    1404
    Niccolò di Pietro Gerini (Italian (Florentine), active about 1366, died 1415)

    Description

    Dated July 1404, this panel probably was the central section of a multiple-panel altarpiece, with the flanking panels depicting standing saints. The elegant robes and decorated throne underscore the Virgin’s nobility, while her tender gaze at her son and the charming gesture of the infant clutching his mother’s finger, arm around her neck, emphasize Jesus’s humanity. The monumentality and solidity of the Virgin are typical of Florentine painting.

    Inscription

    Lower left: D [OMI]NI M / CCCC IIII; Lower right: DEL MES[E] DI LUGLIO

    Provenance

    1907, B. M. and Enrichetta Castellani; April 5-20, 1907, Castellani sale, Jandolo and Tavizzi, Rome, lot 312 [see note 1]. Until 1909, Joachim Ferroni, Rome; April 14-22, 1909, posthumous Ferroni sale, Galleria Sangiorgi, Rome, lot 169 [see note 1]. 1916, Rodolfo Calafranceschi, Rome; 1916, sold by Calafranceschi, through Philip J. Gentner, Worcester, MA, to Mrs. W. Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; 1916, gift of Mrs. W. Scott Fitz to the MFA [see note 2]. (Accession Date: June 6, 1916) NOTES: [1] Attributed in the catalogue to Ambrogio Lorenzetti. [2] Accessioned as a work by Giovanni del Biondo.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    146 x 70.5 cm (57 1/2 x 27 3/4 in.)

    Accession Number

    16.64

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child

    about 1325–30
    Ugolino di Nerio (Italian (Sienese), active in 1317–1339)

    Description

    Now framed as a single panel, this painting was probably originally the central section of a polyptych (a multi-panel altarpiece), with paintings of individual saints displayed in flanking compartments. The present shape and frame may date from the seventeenth century; an inscription on the back of the panel states that “this painting of the Madonna of Mercy was restored by the priest Angelo Sirigatti in the year 1630.” Much of the gilding is modern

    Provenance

    1630, restored by Angelo Sirigatti [see note 1]. 1916, Rodolfo Calafranceschi, Rome; 1916, sold by Calafranceschi, through Philip J. Gentner, Worcester, MA, to Mrs. W. Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; 1916, gift of Mrs. W. Scott Fitz to the MFA. (Accession Date: June 6, 1916) NOTES: [1] The reverse of the panel is inscribed: "Questa Madonna del soccorso restavro il prete Angelo Sirigatti lanno 1630" (The priest Angelo Sirigatti restored this painting of the Madonna of Mercy in 1630).

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    81.4 x 52.1 cm (32 1/16 x 20 1/2 in.)

    Accession Number

    16.65

    Medium or Technique

    Tempera on panel

    On View

    I. W. Colburn Chapel Gallery (Gallery 254A)

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  • Crucified Christ with the Virgin and Saint John the Evangelist

    Naddo Ceccarelli (Italian (Sienese), active in 1330s–early 1360s)

    Description

    Provenance

    By 1829, Annibale Francesco Clemente Melchiore Girolamo Nicola della Genga (b. 1760 - d. 1829), Pope Leo XII, Rome; by descent from Genga to the Contessa Pucci; by 1909, passed from Pucci to Mariano Rocchi, Rome [see note 1]. About 1909-1915, Prince Golinicheff Koutousoff, Russia [see note 2]. By 1915, F. Kleinberger Galleries, New York; 1916, sold by Kleinberger to Edward Jackson Holmes (b. 1873 - d. 1950) and Mrs. F. Scott Fitz (b. 1847 - d. 1929), Boston; 1916, gift of Mrs. F. Scott Fitz (b. 1847 - d. 1929) to the MFA [see note 3]. (Accession Date: June 1, 1916) NOTES: [1] According to a letter from Valerio Mariano, secretary, R. Istituto di Archeologia e Storia dell'Arte, Rome to the Assistant Curator of Paintings, MFA (July 3, 1939), this information was provided by Mariano Rocchi. [2] A note in the curatorial file states that on September 25, 1916, Frank Jewett Mather visited the MFA and said that the painting had been in the collection of Prince Golinicheff Koutousoff of Russia and was brought to the United States by Nicolas Riabouchinsky. A sale of the Golinicheff Koutousoff and Riabouchinsky collections was held at the American Art Association, New York, April 26, 1916, but this painting was not included in this sale. [3] The painting was accessioned as a work of art by Lippo Memmi.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    21.9 x 15.2 cm (8 5/8 x 6 in.)

    Accession Number

    16.117

    Medium or Technique

    Tempera on panel

    Not On View

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  • The Meeting of Solomon and the Queen of Sheba; Cherub Holding Cornucopias of Cherries (recto and verso)

    Third quarter of the 15th century
    Attributed to Francesco del Cossa (Italian (Ferrarese), about 1436–about 1478)

    Description

    Wooden trays, usually painted on both sides, were often commissioned to mark a child’s birth and herald future prosperity. Although the meeting of Solomon and the queen of Sheba had no romantic outcome, both were renowned for their wealth and exchanged lavish gifts when they met. This scene, which emphasizes ornate architecture and lithe figures in courtly costumes, contrasts with the cruder execution, perhaps by an assistant, of the image on the back. The reverse depicts a cherub holding two cornucopias, which represent abundance, and wearing a necklace of coral to ensure good fortune, protection from evil, and fertility.

    Provenance

    By 1889, E. Secrétan (d. 1899), Paris; July 1, 1889, Secrétan sale, Galerie Sedelmeyer, Paris, lot 183. By 1894, Count Chabrières-Arlès, Paris [see note 1]. By 1917, Kleinberger Galleries, New York; 1917, sold by Kleinberger to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; 1917, gift of Mrs. Walter Scott Fitz to the MFA [see note 2]. (Accession Date: February 15, 1917) NOTES: [1] E. Müntz, "Les plateaux d'accouchées et la peinture sur meubles du IVe au XVIe siècle," Monuments et mémoires 1 (1894), p. 221, first published the painting as being in the Chabrières-Arlès collection. How and when it was acquired is not known. [2] Accessioned as a work of art attributed to Giovanni Boccati da Camerino.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    61 x 61 cm (24 x 24 in.)

    Accession Number

    17.198

    Medium or Technique

    Tempera and oil on panel

    On View

    Italian Renaissance Gallery E (Gallery 219)

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  • Lorenzo Ghirardello

    about 1634
    Carlo Ceresa (Italian (Bergamesque), 1609–1679), Formerly attributed to Tiberio Tinelli (Italian (Venetian), 1586–1638)

    Description

    Inscription

    On letter: Spectab [...] Do Lor [...] / Ghirardello [...] Cr [...] / Bergam [...]

    Provenance

    By 1917 with Denman Waldo Ross (Cambridge, MA, USA); 1917 - Boston, MA, USA. Boston Museum of Fine Arts (gift of Ross) (Accession date: February 15, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    115.2 x 95.2 cm (45 3/8 x 37 1/2 in.)

    Accession Number

    17.575

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Man in a Brown Cloak

    about 1750–75
    Attributed to Alessandro Longhi (Italian (Venetian), 1733–1813)

    Description

    Provenance

    By 1907 - 1917 Denman Waldo Ross (Cambridge, MA, USA); 1917 - Boston, MA, USA. Museum of Fine Arts (gift of Ross) (Accession date: February 15, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    66.7 x 50.5 cm (26 1/4 x 19 7/8 in.)

    Accession Number

    17.589

    Medium or Technique

    Oil on canvas

    Not On View

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  • Grand Canal, Venice

    Venice: San Geremia and the Entrance to the Cannaregio Canal

    Style of Canaletto (Giovanni Antonio Canal) (Italian (Venetian), 1697–1768)

    Description

    Provenance

    By 1910, Denman Waldo Ross (b. 1853 - d. 1935), Cambridge, MA; 1917, gift of Denman Waldo Ross to the MFA. (Accession Date: February 15, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    37.1 x 58.1 cm (14 5/8 x 22 7/8 in.)

    Accession Number

    17.590

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Man

    about 1500–20
    Attributed to Vittore Carpaccio (Italian (Venetian), active in 1490, died 1523 to 1526)

    Description

    Provenance

    Private collection, Taranto, Italy. By 1911 until 1917, Ercole Canessa, Paris and Colnaghi, London (owned jointly; Colnaghi stock no. A105). 1917, Kleinberger Galleries, Paris; 1917, sold by Kleinberger to the MFA for $10,000. (Accession date: March 1, 1917)

    Credit Line

    Edward Wheelwright Fund

    Details

    Dimensions

    41 x 30.8 cm (16 1/8 x 12 1/8 in.)

    Accession Number

    17.1080

    Medium or Technique

    Tempera on panel

    Not On View

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  • Portrait of a Woman

    about 1500–20
    Attributed to Vittore Carpaccio (Italian (Venetian), active in 1490, died 1523 to 1526)

    Description

    Provenance

    Private collection, Taranto, Italy. By 1911 until 1917, Ercole Canessa, Paris and Colnaghi, London (owned jointly; Colnaghi stock no. A105). 1917, Kleinberger Galleries, Paris; 1917, sold by Kleinberger to the MFA for $10,000. (Accession date: March 1, 1917)

    Credit Line

    Edward Wheelwright Fund

    Details

    Dimensions

    41 x 30.8 cm (16 1/8 x 12 1/8 in.)

    Accession Number

    17.1081

    Medium or Technique

    Tempera on panel

    Not On View

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  • Venetian Card Party

    Unidentified artist, Italian, 18th century (Italian)

    Description

    Provenance

    By 1910 - 1917 Denman Waldo Ross (Cambridge, MA, USA); 1917 - Boston, MA, USA. Museum of Fine Arts (gift of Ross) (Accession date: April 5, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    83.5 x 101.6 cm (32 7/8 x 40 in.)

    Accession Number

    17.1407

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child with an Angel

    possibly late 1470s
    Bernardo di Stefano Rosselli (Italian (Florentine), 1450–1526)

    Description

    Provenance

    Mori, Paris. By 1917, Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Evans to the MFA. (Accession date: November 1, 1917)

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    57.5 x 44.5 cm (22 5/8 x 17 1/2 in.)

    Accession Number

    17.3223

    Medium or Technique

    Tempera on panel

    Not On View

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  • Portrait of a Child Holding a Doll

    Attributed to Giovanni Battista Cipriani (Italian (Florentine), 1727–1785, active in London)

    Description

    Provenance

    By 1909, Robert Dawson Evans (b. 1843 - d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Evans to the MFA. (Accession date: November 1, 1917)

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    79.7 x 68.9 cm (31 3/8 x 27 1/8 in.)

    Accession Number

    17.3230

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child with Saint Jerome

    about 1475–80
    Attributed to Pinturicchio (Bernardino di Betto) (Italian (Umbrian), about 1452–1513)

    Description

    This early work displays the hallmarks of Pintoricchio’s style-serene figures, a remarkable play of light on surfaces, and the skillful rendering of such minute details as the hair of the figures here. Pintoricchio’s nickname, which means “little painter,” referred to his small size and not to his artistic reputation. During his lifetime he was considered one the outstanding painters in Italy and worked for popes and their families. This painting is in excellent condition except for the Virgin’s mantle, which has darkened from its original brilliant blue.

    Provenance

    About 1907, Bacchettoni collection, Rome (?) [see note 1]. 1917, Piero Tolentino (b. 1879 - d. 1948), Trieste, Italy; July 1917, sold by Tolentino to Duveen Brothers, New York (stock no. X-61); March 9, 1920, sold by Duveen to Mrs. W. Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1929), Boston [see note 2]; 1920, gift of Mrs. Fitz to the MFA. (Accession Date: April 1, 1920) NOTES: [1] According to a letter from A. E. M. Paff to Arthur Fairbanks of the MFA (April 24, 1920), the painting had been owned by Signor Bacchettoni, the mayor of San Gemini, near Narni, who was then living in Rome. In his letter, he refers to Mr. Forbes (probably MFA trustee Edward Waldo Forbes) having seen the picture 13 years earlier. Paff had been told that the painting may have come from the Vatican through a family member who was a cardinal, but "this, however, is only supposition." [2] Attributed at the time to Fiorenzo di Lorenzo. Information about Duveen's acquisition of the painting is taken from the Duveen stock book (1914-1915), p. 200; Getty Research Institute, Duveen Brothers Records, Box 10, microfilm reel 10.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    52.7 x 39 cm (20 3/4 x 15 3/8 in.)

    Accession Number

    20.431

    Medium or Technique

    Oil on panel

    On View

    Italian Renaissance Gallery E (Gallery 219)

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  • Christ Carrying the Cross

    15th–early 16th century
    After Giovanni Bellini (Italian (Venetian), about 1430–1516)

    Description

    After an original, formerly attributed to Giorgione, in the Isabella Stewart Gardner Museum, Boston, or one of several similar compositions from the Giovanni Bellini workshop or circle, such as the example in the Toledo Museum of Art, Ohio.
    [Frederick Ilchman, 10 Aug 2011]

    Provenance

    1920, bequest of Dr. Emma B. Culbertson (Accession date: August 5, 1920)

    Credit Line

    Bequest of Dr. Emma B. Culbertson

    Details

    Dimensions

    38.1 x 30.2 cm (15 x 11 7/8 in.)

    Accession Number

    20.851

    Medium or Technique

    Oil and tempera on panel

    Not On View

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  • Moses Saved from the Waters

    Andrea di Leone (Italian (Neapolitan), 1610–1685)

    Description

    Provenance

    Before 1920, anonymous collection or dealer, possibly Sebastiano Candrian, Venice, Italy. 1920, bought in Venice by Dr. Denman W. Ross, Cambridge, MA; 1920, gift of Denman W. Ross. (Accession date: November 4, 1920)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    94 x 130.5 cm (37 x 51 3/8 in.)

    Accession Number

    20.1630

    Medium or Technique

    Oil on canvas

    Not On View

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  • Saint Vincent

    about 1410
    Gherardo di Jacopo Starnina (Italian (Florentine), about 1360–1413)

    Description

    This image of St. Vincent and that of St. Stephen [MFA Object No. 20.1855b] are fragments of a multi-paneled altarpiece. Their unusually well-preserved paint surfaces give a good sense of the original appearance of tempera paintings. The artist first outlined his composition on a wooden panel covered with fine plaster called gesso. The gold leaf was applied over a thin layer of colored clay called bole, leaving uncovered the areas to be painted. Pigments mixed with water and egg yolk as a binder were laid on in many tiny strokes that dried quickly. The artist first painted the middle tones, then added shadows and highlights on top.

    Provenance

    Thomas O. Richardson (d. 1920); 1920, by inheritance to Mrs. Thomas O. Richardson (d. 1924), Boston, MA; 1920, gift of Mrs. Thomas O. Richardson. (Accession date: December 13, 1920)

    Credit Line

    Gift of Mrs. Thomas O. Richardson

    Details

    Dimensions

    67.3 x 34.6 cm (26 1/2 x 13 5/8 in.)

    Accession Number

    20.1855a

    Medium or Technique

    Tempera on panel

    On View

    Museum Council Gallery (Gallery 254)

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  • Saint Stephen

    about 1410
    Gherardo di Jacopo Starnina (Italian (Florentine), about 1360–1413)

    Description

    Provenance

    Thomas O. Richardson (d. 1920); 1920, by inheritance to Mrs. Thomas O. Richardson (d. 1924), Boston, MA; 1920, gift of Mrs. Thomas O. Richardson. (Accession date: December 13, 1920)

    Credit Line

    Gift of Mrs. Thomas O. Richardson

    Details

    Dimensions

    66.9 x 33.3 cm (26 1/3 x 13 1/8 in.)

    Accession Number

    20.1855b

    Medium or Technique

    Tempera on panel

    On View

    Museum Council Gallery (Gallery 254)

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  • Isaiah with Two Angels

    about 1410
    Gherardo di Jacopo Starnina (Italian (Florentine), about 1360–1413)

    Description

    Provenance

    Thomas O. Richardson (d. 1920); 1920, by inheritance to Mrs. Thomas O. Richardson (d. 1924), Boston, MA; 1920, gift of Mrs. Thomas O. Richardson. (Accession date: December 13, 1920)

    Credit Line

    Gift of Mrs. Thomas O. Richardson

    Details

    Dimensions

    31.8 x 99.4 cm (12 1/2 x 39 1/8 in.)

    Accession Number

    20.1856

    Medium or Technique

    Tempera on panel

    Not On View

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  • Jeremiah with Two Angels

    about 1410
    Gherardo di Jacopo Starnina (Italian (Florentine), about 1360–1413)

    Description

    Provenance

    Thomas O. Richardson (d. 1920); 1920, by inheritance to Mrs. Thomas O. Richardson (d. 1924), Boston, MA; 1920, gift of Mrs. Thomas O. Richardson. (Accession date: December 13, 1920)

    Credit Line

    Gift of Mrs. Thomas Richardson

    Details

    Dimensions

    31.8 x 74 cm (12 1/2 x 29 1/8 in.)

    Accession Number

    20.1857

    Medium or Technique

    Tempera on panel

    Not On View

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  • Saint Victorinus, Saint Sebastian, Saint Jerome

    about 1478–80
    Niccolò da Foligno (called l'Alunno) (Italian (Umbrian), active by 1456–1502)

    Description

    Provenance

    About 1478/80, church of San Venanzio, Camerino, Italy (original commission) [see note 1]; 1808, removed from the church [see note 2]. 1828 until 1866 (?), Don Anastasio Tacchi Venturi, Camerino [see note 3]. Marchese Ranghiasci-Brancaleoni, Gubbio, Italy; April 12, 1882, posthumous Ranghiasci-Brancaleoni sale, Gubbio, lot 380, perhaps to Mary Rich (Mrs. Thomas O.) Richardson (d. 1924), Boston and Newport [see note 4]; 1920, gift of Mrs. Thomas O. Richardson to the MFA. (Accession Date: December 13, 1920) NOTES: [1] These small panels (with MFA accession nos. 20.1859a-c) adorned the pilasters of an altarpiece that stood in the church of San Venanzio. Though its original location is not certain, it had been installed by 1480; it was recorded there in the 19th century, with the artist's signature and date. See Laurence B. Kanter, Italian Paintings in the Museum of Fine Arts, Boston, vol. 1, 13th-15th century (Boston, 1994), 215-219, cat. no. 67a-b. [2] The frame is said to have been dismantled in 1808; see Umberto Gnoli, Opere inedite e opere smarrite di Niccolò da Foligno (Rome, 1912): 4. [3] They were certainly in his possession by 1858; see Gnoli (as above, n. 2), pp. 3-5 and Filippo Todini, Niccolò Alunno e la sua Bottega (Perugia, 2004), cat. no. IV.44. [4] Mrs. Richardson had lived in Italy and, according to notes in the curatorial file, she purchased pictures at the Ranghiasci-Brancaleoni sale in 1882.

    Credit Line

    Gift of Mrs. Thomas O. Richardson

    Details

    Dimensions

    Vittorino: 33 x 9.6 cm (13 x 3 3/4 in.) Sebastian: 33 x 9.6 cm. (13 x 3 3/4 in.) Jerome: 33.3 x 9/7 cm. (13 1/8 x 3 7/8 in.)

    Accession Number

    20.1858a-c

    Medium or Technique

    Tempera on panel

    Not On View

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  • Saint Lawrence, Saint Gregory, and a Bishop Saint

    about 1478–80
    Niccolò da Foligno (called l'Alunno) (Italian (Umbrian), active by 1456–1502)

    Description

    Provenance

    About 1478/80, church of San Venanzio, Camerino, Italy (original commission) [see note 1]; 1808, removed from the church [see note 2]. 1828 until 1866 (?), Don Anastasio Tacchi Venturi, Camerino [see note 3]. Marchese Ranghiasci-Brancaleoni, Gubbio, Italy; April 12, 1882, posthumous Ranghiasci-Brancaleoni sale, Gubbio, lot 380, perhaps to Mary Rich (Mrs. Thomas O.) Richardson (d. 1924), Boston and Newport [see note 4]; 1920, gift of Mrs. Thomas O. Richardson to the MFA. (Accession Date: December 13, 1920) NOTES: [1] These small panels (with MFA accession nos. 20.1858a-c) adorned the pilasters of an altarpiece that stood in the church of San Venanzio. Though its original location is not certain, it had been installed by 1480; it was recorded there in the 19th century, with the artist's signature and date. See Laurence B. Kanter, Italian Paintings in the Museum of Fine Arts, Boston, vol. 1, 13th-15th century (Boston, 1994), 215-219, cat. no. 67a-b. [2] The frame is said to have been dismantled in 1808; see Umberto Gnoli, Opere inedite e opere smarrite di Niccolò da Foligno (Rome, 1912): 4. [3] They were certainly in his possession by 1858; see Gnoli (as above, n. 2), pp. 3-5 and Filippo Todini, Niccolò Alunno e la sua Bottega (Perugia, 2004), cat. no. IV.44. [4] Mrs. Richardson had lived in Italy and, according to notes in the curatorial file, she purchased pictures at the Ranghiasci-Brancaleoni sale in 1882.

    Credit Line

    Gift of Mrs. Thomas O. Richardson

    Details

    Dimensions

    Lawrence: 33.4 x 9.8 cm. (13 1/8 x 3 7/8 in); Gregory: 33.2 x 9.9 cm. (13 1/16 x 3 7/8 in.); Bishop Saint: 33.4 x 9.8 cm, (13 1/8 x 3 7/8 in.)

    Accession Number

    20.1859a-c

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child Enthroned with a Bishop Saint, Saint John the Baptist, and Four Angels

    about 1380
    Niccolò di Buonaccorso (Italian (Sienese), active about 1370–died in 1388)

    Description

    This is probably the central section of a portable triptych (three-part altarpiece) whose wings are now missing. The artist maintained the dedication to sinuous line-pioneered by Duccio and seen here in the hems of the draperies-but added highly textured effects of patterned cloth through a lavish use of gold.

    Provenance

    19th century, acquired in Gubbio, Italy, by Mary Rich (Mrs. Thomas O.) Richardson (d. 1924), Florence (Italy), Boston, and Newport [see note 1]; 1920, gift of Mrs. Thomas O. Richardson to the MFA. (Accession Date: December 13, 1920) NOTES: [1] In a letter to the MFA (November 24, 1907), Mrs. Richardson wrote that the painting had been acquired in Gubbio "many years" earlier, and that it was attributed at the time to Lucas Cranach. It is possible that it had been included in the sale of the Ranghiasci-Brancaleoni collection (held in Gubbio, April 12, 1882) although there is no painting listed in the sale catalogue that can be definitively identified with the MFA painting. See Laurence B. Kanter, Italian Paintings in the Museum of Fine Arts, Boston (Boston: MFA, 1994), cat. no. 21, p. 106.

    Credit Line

    Gift of Mrs. Thomas O. Richardson

    Details

    Dimensions

    46.3 x 31.7 cm (18 1/4 x 12 1/2 in.)

    Accession Number

    20.1860

    Medium or Technique

    Tempera on panel

    On View

    Museum Council Gallery (Gallery 254)

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  • Virgin and Child with Saints Jerome and John the Baptist

    Follower of Guidoccio Cozzarelli (Italian (Sienese), 1450–about 1516)

    Description

    Provenance

    By 1921, William Sturgis Bigelow, d. 1926 (Boston, MA, USA); 1921 - Boston, MA, USA. Boston Museum of Fine Arts (gift of Bigelow) (Accession date: July 7, 1921)

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    71.7 x 48.9 cm (28 1/4 x 19 1/4 in.)

    Accession Number

    21.1460

    Medium or Technique

    Tempera on panel

    Not On View

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  • River Landscape with Figures

    Giuseppe Zais (Italian (Venetian), 1709–1784)

    Description

    Provenance

    1921, William Sturgis Bigelow (b. 1850 - d. 1926), Boston; 1921, gift of William Sturgis Bigelow to the MFA. (Accession date: July 7, 1921)

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    37.8 x 57.1 cm (14 7/8 x 22 1/2 in.)

    Accession Number

    21.1461

    Medium or Technique

    Oil on canvas

    Not On View

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  • Italian Peasant Boy

    about 1880
    Antonio Mancini (Italian, 1852–1930)

    Description

    Inscription

    Upper right: A Mancini Roma

    Provenance

    About 1895/1900, sold by the artist to Thomas Lawson (b. 1857 - d. 1925), Boston; 1921, sold by Lawson to Johan Durup; 1921, sold by Durup to the MFA for $5000 [see note 1]. (Accession Date: September 1, 1921) NOTES: [1] The provenance was provided by Johan Durup on October 15, 1940.

    Credit Line

    Francis Bartlett Donation of 1912

    Details

    Dimensions

    169.9 x 87 cm (66 7/8 x 34 1/4 in.)

    Accession Number

    21.1842

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Man

    about 1576
    Jacopo Bassano (Italian (Venetian), 1510–1592)

    Description

    Provenance

    By 1917, Longfellow family, Longfellow House, Cambridge, MA; 1921, gift of Ernest Wadsworth Longfellow, Alice M. Longfellow, and Mrs. Annie A. Longfellow Thorp to the MFA. (Accession date: October 27, 1921)

    Credit Line

    Gift of Ernest Wadsworth Longfellow, Alice M. Longfellow, and Mrs. Annie A. Longfellow Thorp

    Details

    Dimensions

    81.3 x 65.1 cm (32 x 25 5/8 in.)

    Accession Number

    21.2285

    Medium or Technique

    Oil on canvas

    Not On View

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  • Salome with the Head of Saint John the Baptist

    1515–25
    Bernardino Luini (Italian (Milanese), active in 1512, died in 1532)

    Description

    The Bible’s gospel of Mark recounts how King Herod, captivated by the dancing of his stepdaughter, Salome, offered her any reward. At her mother’s urging, Salome requested the head of John the Baptist, who had criticized her mother’s marriage. Like other Renaissance paintings of this subject, the beautiful faces of Salome and John belie the brutal violence of decapitation. This painting, its contours blurred by delicate shadows, is one of the works by Luini most indebted to Leonardo da Vinci.

    Provenance

    Duke of Ascoli, Naples [see note 1]. With Elia Volpi (b. 1858 - d. 1938), Florence [see note 2]. 1921, Duveen Brothers, New York; 1921, sold by Duveen to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; gift of Mrs. Walter Scott Fitz to the MFA. (Accession Date: October 20, 1921) NOTES: [1] Luca Beltrami, "Luini, 1512-1532" (Milan, 1911), p. 566, records it as being in the Duke of Ascoli collection. [2] Marilena Tamassia, "Collezioni d'arte tra Ottocento e Novecento: Jacquier fotografi a Firenze 1870-1935" (Naples, 1995), p. 224, no. 51517.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    62.23 x 51.43 cm (24 1/2 x 20 1/4 in.)

    Accession Number

    21.2287

    Medium or Technique

    Oil on panel

    On View

    Italian Renaissance Gallery E (Gallery 219)

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  • Saint Peter

    1390s
    Andrea Vanni (Italian (Sienese), active in 1353–died in 1413)

    Description

    Provenance

    The Counts Griccioli, monastery of San Eugenio, Siena, Italy. By 1922, Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1929), Boston, MA; 1922, gift of Mrs. Walter Scott Fitz. (Accession date: January 5, 1922)

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    155.9 x 42.2 cm (61 3/8 x 16 5/8 in.)

    Accession Number

    22.3

    Medium or Technique

    Tempera on panel

    Not On View

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  • Saint Paul

    1390s
    Andrea Vanni (Italian (Sienese), active in 1353–died in 1413)

    Description

    Provenance

    The Counts Griccioli, monastery of San Eugenio, Siena, Italy. By 1922, Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1929), Boston, MA; 1922, gift of Mrs. Walter Scott Fitz. (Accession date: January 5, 1922)

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    155.9 x 42.8 cm (61 3/8 x 16 7/8 in.)

    Accession Number

    22.4

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child; Coronation of the Virgin

    early 1480s
    Attributed to Domenico Ghirlandaio (Italian (Florentine), about 1448–1494)

    Description

    Provenance

    By 1922 Mrs. Thomas O. Richardson (d. 1924), Boston, MA; 1922, gift of Mrs. Richardson [attributed to Florentine School]. (Accession date: January 5, 1922)

    Credit Line

    Gift of Mrs. Thomas O. Richardson

    Details

    Dimensions

    17.4 x 12.5 cm (6 5/6 x 4 15/16 in.)

    Accession Number

    22.5

    Medium or Technique

    Tempera and oil on panel

    Not On View

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  • Annunication; Crucifixion

    about 1385–95
    Giuliano di Simone (Italian (Lucchese), active in the fourth quarter of the 14th century)

    Description

    Provenance

    Until 1912, George Haddington (d. 1917), 11th Earl of Baillie-Hamilton, Tyninghame, Scotland; 1912, sold by George Haddington to Durlacher Brothers, New York, NY and London, England [attributed to Gregorio di Cecco]; 1922, sold by Durlacher Brothers to the MFA for $3200. (Accession date: June 6, 1922)

    Credit Line

    Seth K. Sweetser Fund

    Details

    Dimensions

    Overall: 25.6 x 31.1cm (10 1/16 x 12 1/4in.) Other (Picture surface: Crucifixion): 36.4 x 31.1 cm (14 5/16 x 12 1/4 in.)

    Accession Number

    22.403

    Medium or Technique

    Tempera on panel

    Not On View

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  • Martyrdom of a Female Saint (Saint Agnes?); Flagellation of Christ; Saint Jerome in the Wilderness [the "Sherman Predella"]

    about 1437–40
    Master of the Sherman Predella (Italian (Florentine), second quarter of the 15th century)

    Description

    A predella is a horizontal section at the base of an altarpiece. The three scenes of this predella are unified by the similar scale of the figures and by their symmetrical compositions, with rocky landscapes at both edges of the panel. The coloring, delicate shading, and details in gold leaf indicate that the artist was inspired by the work of Fra Angelico. Because this picture was given to the Museum by Zoë Sherman, its unidentified artist is known as the Master of the Sherman Predella.

    Provenance

    Hans Heinrich XI, Prince von Pless (b. 1833-d. 1907), Schloss Fürstenstein (present-day Ksiaz) and Pless (present-day Pszczyna), Silesia, Poland [see note 1]. By 1921, Robert Langton Douglas (b. 1864-d. 1951), London [see note 2]; by (June 24 ?); 1922, sold by Robert Langton Douglas to Mrs. Zoe Oliver Sherman, Boston, MA [see note 3]; 1922, gift of Mrs. Zoe Oliver Sherman to the MFA. (Accession Date: August 3, 1922) NOTES: [1] According to a note dated November 18, 1943, in the MFA curatorial files by William G. Constable, Curator of Paintings, Mrs. Sherman states that the picture came from the collection of the Prince of Pless. [2] According to a letter dated (June 24 ?), 1922, from Robert Langton Douglas to Mrs. Sherman, the work "came from a collection of a German prince originally...it was offered to me by a dealer who acted as intermediary". [3] See letters from Robert Langton Douglas to Mrs. Sherman (June 24 ?),1922 and September 4, 1922.

    Credit Line

    Zoe Oliver Sherman Collection

    Details

    Dimensions

    Framed: 28.6 x 52.4 cm (11 1/4 x 20 5/8 in.) Other (left panel unframed): 21.6 x 13 cm (8 1/2 x 5 1/8 in.) Other (center panel unframed): 21.6 x 26.8 cm (8 1/2 x 10 9/16 in.) Other (right panel unframed): 21.6 x 13 cm (8 1/2 x 5 1/8 in.)

    Accession Number

    22.635

    Medium or Technique

    Tempera on panel

    On View

    Italian Renaissance Gallery E (Gallery 219)

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  • Virgin and Child with the Infant Saint John the Baptist

    Follower of Gaudenzio Ferrari (Italian (Lombardy), about 1480–1546)

    Description

    Provenance

    By 1915 Philip J. Gentner, (Worcester, MA, USA; New York, NY, USA); 1915 - 1922 Zoe Oliver Sherman from Gentner (Boston, MA, USA); 1922 - Boston, MA, USA. Museum of Fine Arts (gift of Sherman) (Accession date: August 3, 1922)

    Credit Line

    Zoe Oliver Sherman Collection

    Details

    Dimensions

    63.5 x 44.2 cm (25 x 17 3/8 in.)

    Accession Number

    22.636

    Medium or Technique

    Oil on panel

    Not On View

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  • Head of a Young Woman

    Attributed to Simone Pignoni (Italian (Florentine), 1611–1698), Formerly attributed to Francesco Furini (Italian (Florentine), 1603–1649)

    Description

    Provenance

    Italy. Anonymous collection or anonymous dealer. Philip J. Gentner, (Worcester, MA, USA; New York, NY, USA) (buying for Zoe Oliver Sherman) acquired in Italy; by 1922 Zoe Oliver Sherman (Boston, MA, USA) buying through Gentner; 1922 - Boston, MA, USA. Museum of Fine Arts (gift of Sherman) (Accession date: August 3, 1922)

    Credit Line

    Zoe Oliver Sherman Collection

    Details

    Dimensions

    44.8 x 37.5 cm (17 5/8 x 14 3/4 in.)

    Accession Number

    22.638

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Descent From the Cross

    possibly mid–1480s
    Cosimo Rosselli (Italian (Florentine), 1439–1507)

    Description

    Provenance

    By 1839, possibly with Giovanni Rosini, Pisa, Italy. By about 1862-72, unidentified collection, Firenze, Italy. By about 1862/72, acquired from an unidentified collection in Florence (?) by Charles Somers, 3rd Earl Somers-Cocks (d. 1883), Eastnor Castle, Herefordshire, England; after his death, 1883, by descent to his daughter, Lady Charles (?) Richard Henry Somerset (Isabel Caroline Somerset, d. 1921), the Priory, Reigate, Surrey, England; from Lady Somerset to Robert Langton Douglas, London, England; by 1922, from Douglas to Zoe Oliver Sherman, Boston, MA; 1922, gift of Sherman. (Accession date: August 3, 1922)

    Credit Line

    Zoe Oliver Sherman Collection

    Details

    Dimensions

    50.8 x 35.9 cm (20 x 14 1/8 in.)

    Accession Number

    22.651

    Medium or Technique

    Oil and tempera on panel

    Not On View

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  • Virgin and Child with an Angel

    about 1470–75
    Attributed to Luca Signorelli (Italian (Tuscany), about 1450–1523), Formerly attributed to Piero della Francesca (Italian, born about 1415–died in 1492)

    Description

    Provenance

    Menchetti collection, Rome; sold from the Menchetti collection to an anonymous dealer, England [see note 1]. By 1921, private collection, London [see note 2]. By 1922, Galleria Lino Pesaro, Milan; 1922, sold by Pesaro to the MFA for $37,985. (Accession Date: November 2, 1922) NOTES: [1] According to Tom Henry and Laurence Kanter, "Luca Signorelli: The Complete Paintings" (New York, 2002), p. 257, cat. no. App. 2. The name of the Roman collection from which it was purchased -- first published by Roberto Longhi, "Piero della Francesca" (London and New York, 1930), p. 155 -- is not certain; it may be Marchetti or Minghetti. [2] Published by Adolfo Venturi, "Piero della Francesca" (Florence, 1921-1922), pp. 71-72, cat. no. 3 as in a private collection, London.

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    59 x 40.6 cm (23 1/4 x 16 in.)

    Accession Number

    22.697

    Medium or Technique

    Tempera and oil on panel

    Not On View

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  • The Crucifixion

    before 1328
    Bernardo Daddi (Italian (Florentine), active about 1320–1348)

    Description

    Provenance

    About 1914/1921, Julius Böhler, Munich; about 1914/1921, sold by Böhler to Osvald Sirén, Stockholm [see note 1]; 1923, sold by Sirén to the MFA for $3750. (Accession Date: April 5, 1923) NOTES: [1] In a letter to James Plaut of the MFA (October 12, 1936), Sirén wrote that "it was acquired some time during the war at Julius Böhler's in Munich. They did not give any further information as to its earlier owners." This may be the panel described as "Crucifixion with some figures and angels on gold ground, Italian, about 1400" that Böhler purchased from Paul Cassirer, Berlin and sold to Sirén in 1921 (correspondence from Julius Böhler to the MFA, May 9, 2006; in curatorial file). In addition, a Julius Böhler stock card (no. 19,778, on file at the Getty Provenance Index) shows that a Crucifixion in the style of Daddi was acquired from Paul Cassirer on November 4, 1919, and was sold in 1920. Whether this is the same painting is not known.

    Credit Line

    Helen Collamore Fund

    Details

    Dimensions

    40.3 x 32.1 cm (15 7/8 x 12 5/8 in.)

    Accession Number

    23.211

    Medium or Technique

    Tempera on panel

    Not On View

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  • Journey of the Queen of Sheba

    Italian (Florence)
    Apollonio di Giovanni di Tomaso (Italian (Florentine), about 1416–1465), Marco del Buono di Marco (Italian (Florentine), about 1402–1489)

    Description

    Provenance

    1923, purchased by Walter Gay (b. 1856 - d. 1937), Paris, for the MFA for $9962 [see note 1]. (Accession Date: June 7, 1923) NOTES: [1] Accessioned as a work by Paolo Uccello. Later attributed to an artist of the Florentine school.

    Credit Line

    Herbert James Pratt Fund

    Details

    Dimensions

    39.1 x 133.4 cm (15 3/8 x 52 1/2 in.)

    Accession Number

    23.252

    Medium or Technique

    Tempera on panel

    Not On View

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  • The Entombment of Christ

    Luca Giordano (Italian (Neapolitan), 1634–1705)

    Description

    Provenance

    By 1849, Moses and David Kimball, Boston. By 1880, Appleton Collection, Boston; by descent to Ernest Wadsworth Longfellow (b. 1845 - d. 1921), Boston; 1923, bequest of Ernest Wadsworth Longfellow to the MFA. (Accession Date: November 1, 1923)

    Credit Line

    Bequest of Ernest Wadsworth Longfellow

    Details

    Dimensions

    68.9 x 80 cm (27 1/8 x 31 1/2 in.)

    Accession Number

    23.459

    Medium or Technique

    Oil on canvas

    Not On View

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  • Breezy Day in Venice

    1891–99
    Ettore Tito (Italian (Venetian), 1859–1941)

    Description

    Inscription

    Center right: E. Tito / 1891 / V E N. Lower right: E Tito 95

    Provenance

    Ernest Wadsworth Longfellow (b. 1845 - d. 1921), Boston, MA; 1923, bequeathed by Ernest Wadsworth Longfellow to the MFA. (Accession Date: November 1, 1923)

    Credit Line

    Bequest of Ernest Wadsworth Longfellow

    Details

    Dimensions

    54 x 80.6 cm (21 1/4 x 31 3/4 in.)

    Accession Number

    23.474

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Swaddled Christ Child (fragment of a Nativity)

    Master of Le Palazze (Italian (Umbrian), active in late 13th or early 14th century)

    Description

    Provenance

    Until 1921, Convent of the Santa Maria inter Angelos, near Spoleto, Italy (original commission); property passed to the Italian state and sold in 1871 to Francesco Cianni, Spoleto; after his death in 1908, to his son, Guglielmo [see note 1]; 1921, fresco detached and sold by Guglielmo Cianni to Baron Ernesto Bayet, Cavallasa, near Como, Italy [see note 2]. 1921, Bernardo Bazzani, Bergamo, Italy [see note 2]. 1924, René Gimpel (b. 1881 - d. 1944), Paris; 1924, gift of René Gimpel to the MFA. (Accession Date: March 6, 1924) NOTES: [1] Martin Davies, "European Paintings in the Collection of the Worcester Art Museum" (1974), p. 471. [2] For this information, Davies (as in n. 1), p. 474, n. 60, cites a typescript in the files of the Worcester Art Museum, "probably a copy of information supplied in 1948 by Professor Achille Bertini Calosso, Soprintendente ai Monumenti e alle Gallerie dell'Umbria at Perugia."

    Credit Line

    Gift of René Gimpel

    Details

    Dimensions

    43.7 x 50.5 cm (17 3/16 x 19 7/8 in.)

    Accession Number

    24.115

    Medium or Technique

    Fresco, transferred to canvas

    Not On View

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  • The Ponte Vecchio, Florence

    1740–1780
    Circle Of Bernardo Bellotto (Italian (Venetian), 1720–1780)

    Description

    Bellotto studied with his uncle, Giovanni Antonio Canal (Canaletto) beginning about 1735, and his early works are often confused with those of the older master. This view of the picturesque Ponte Vecchio was probably painted during Bellotto’s extensive travels throughout northern Italy before he left the country permanently in 1747.

    Provenance

    Dr. Götz Martius (b. 1853 - d. 1927), Kiel, Germany. By 1922, Bachstitz Gallery, the Hague, the Netherlands; 1925, sold by the Bachstitz Gallery to the MFA for $8500. (Accession Date: January 8, 1925)

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    55.9 x 87.6 cm (22 x 34 1/2 in.)

    Accession Number

    25.1

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Holy Family

    Giovanni Battista Bertucci (Italian (Romagnan), active in 1503, died about 1516)

    Description

    Provenance

    By about 1850-60, an anonymous collector or dealer, Italy; about 1850-60, acquired in Italy by Charles Bruen Perkins, Boston, MA; 1925, purchased (from Perkins?) by the MFA for $1500. (Accession Date: June 4, 1925)

    Credit Line

    Herbert James Pratt Fund

    Details

    Dimensions

    64.1 x 47.6 cm (25 1/4 x 18 3/4 in.)

    Accession Number

    25.214

    Medium or Technique

    Oil and tempera on panel

    Not On View

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  • Portrait of a Woman with a Pearl Necklace

    probably 1485–1495
    Lorenzo Costa (Italian (Ferrarese), about 1460–1535)

    Description

    Provenance

    By 1883, Mary Rich (Mrs. Thomas O.) Richardson (d. 1924), Boston and Newport, RI [see note 1]; 1925, bequest of Mrs. Thomas O. Richardson to the MFA. (Accession Date: June 4, 1925) NOTES: [1] She first lent the painting to the MFA in 1883.

    Credit Line

    Bequest of Mrs. Thomas O. Richardson

    Details

    Dimensions

    44.1 x 33.9 cm (17 3/8 x 13 3/8 in.)

    Accession Number

    25.227

    Medium or Technique

    Oil on panel

    On View

    Italian Renaissance Gallery (Gallery 206)

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  • Portrait of an Artist (said to be Andrea Sacchi)

    Agostino Scilla (Italian, 1629–1700)

    Description

    Inscription

    Center right, on palette: Augu. Scilla

    Provenance

    By 1896, Mrs. Thomas O. Richardson (d. 1924), Boston, MA; 1925, bequeathed by Mrs. Richardson to the MFA. (Accession Date: June 4, 1925)

    Credit Line

    Bequest of Mrs. Thomas O. Richardson

    Details

    Dimensions

    20.6 x 13.3 cm (8 1/8 x 5 1/4 in.)

    Accession Number

    25.230

    Medium or Technique

    Oil on copper

    Not On View

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  • Saint Jerome in the Wilderness

    Jacopo da Valenza (Italian (Venetian), active in 1485–about 1509)

    Description

    Provenance

    By 1926, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1926, partial gift of and partial purchase from Edward Jackson Holmes to the MFA for $7500 [see note 1]. (Accession Date: July 15, 1926) Notes: [1] Sold as a work by Lazzaro Bastiani.

    Credit Line

    Seth K. Sweetser Fund and contribution from Edward Jackson Holmes

    Details

    Dimensions

    59.7 x 42.5 cm (23 1/2 x 16 3/4 in.)

    Accession Number

    26.141

    Medium or Technique

    Oil on panel

    Not On View

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  • Adoration of the Magi

    about 1600-10
    Domenico Tintoretto (Domenico Robusti) (Italian (Venetian), 1560–1635)

    Description

    Provenance

    By 1780, possibly Domenico and Giuseppe Pallavicini, Genoa, Italy [see note 1]. 1926, anonymous collection, Genoa; 1926, sold from anonymous collection to the MFA for $60,750. (Accession Date: July 15, 1926) NOTES: [1] Carlo Giuseppe Ratti recorded an "Adoration of the Magi, a large painting by Tintoretto" ("L'adorazione de'Magi, quadro grande del Tintoretto") in the palace of the brothers Domenico and Giuseppe Pallavicini in his "Instruzione di quanto può vederi di più bello in Genova," 2d ed. (1780).

    Credit Line

    Herbert James Pratt Fund

    Details

    Dimensions

    152.1 x 295 cm (59 7/8 x 116 1/8 in.)

    Accession Number

    26.142

    Medium or Technique

    Oil on canvas

    Not On View

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  • Landscape with the Holy Family and the Infant Saint John the Baptist

    Giovanni Francesco Grimaldi (Italian (Roman), 1606–1680)

    Description

    Provenance

    By 1851, R. C. Winthrop, Boston, MA (still with Winthrop in 1863). By 1926, Miss Clara Bowdoin Winthrop, Lanthorne Hill, West Manchester, MA (from R. C. Winthrop?); 1926, gift of Clara Bowdoin Winthrop to the MFA (artist as Domenichino). (Accession Date: October 7, 1926)

    Credit Line

    Gift of Clara Bowdoin Winthrop

    Details

    Dimensions

    96.5 x 134.6 cm (38 x 53 in.)

    Accession Number

    26.167

    Medium or Technique

    Oil on canvas mounted on Masonite

    Not On View

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  • Herodias with the Head of Saint John the Baptist

    about 1625–30
    Francesco del Cairo (Italian (Lombardy), 1598–1674)

    Description

    Herodias was enraged with John the Baptist for preaching against her marriage to Herod, the brother of her first husband. According to the New Testament, she instructed her daughter Salome to ask Herod for the Baptist’s head as a reward for her dancing. A text by Saint Jerome recounts that when Herodias received the severed head, she pierced the Baptist’s tongue with a needle. In this painting, Cairo made the macabre subject even more disturbing through dramatic lighting and the vivid realism with which he portrayed Herodias swooning in ecstasy as she mutilates the tongue that spoke against her.

    Provenance

    Louis Philippe (b. 1773 - d. 1850), King of the French. By 1853, Henry Jacob Bigelow (b. 1818 - d. 1890), Boston [see note 1]; by descent to his son, William Sturgis Bigelow (b. 1850 - d. 1926), Boston; 1926, bequest of William Sturgis Bigelow to the MFA. (Accession Date: December 20, 1926) NOTES: [1] In 1853, Bigelow lent this painting to the Boston Athenaeum, where it was exhibited as a work by Caravaggio.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    119.4 x 95.3 cm (47 x 37 1/2 in.)

    Accession Number

    26.772

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Rio dei Mendicanti, Venice

    After Francesco Guardi (Italian (Venetian), 1712–1793)

    Description

    After a painting in the Accademia Carrara, Bergamo

    Provenance

    By 1926, William Sturgis Bigelow (d. 1926), Boston, MA; 1926 bequeathed (or given as a gift?) by William Sturgis Bigelow to the MFA. (Accession Date: December 20, 1926)

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    19.3 x 13.7 cm (7 5/8 x 5 3/8 in.)

    Accession Number

    26.776

    Medium or Technique

    Oil on panel

    Not On View

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  • Portrait of a Man at a Writing Desk

    Unidentified artist, Italian (Venetian), 16th century (Italian (Venetian))

    Description

    Provenance

    By 1925, Alessandro Contini-Bonacossi (b. 1878 - d. 1955), Florence and Rome; 1927, sold by Contini-Bonacossi to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth, b. 1847 - d. 1929), Boston; 1927, gift of Mrs. Walter Scott Fitz to the MFA [see note 1]. (Accession Date: April 7, 1927) NOTES: [1] Accessioned as a work attributed to Diego Rodríquez de Silva y Velázquez.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    95.6 x 70.2 cm (37 5/8 x 27 5/8 in.)

    Accession Number

    27.188

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Mystic Marriage of Saint Catherine

    Version of a painting in the Alte Pinakothek, Munich

    Workshop of Lorenzo Lotto (Italian (Venetian), about 1480–1556)

    Description

    Provenance

    1923, John Annan Bryce (b. 1841 - d. 1923), London; November 8, 1923, posthumous Bryce sale, Samuel Wallrock and Co., London, lot 842 [see note 1], to Colnaghi, London; 1924, sold by Colnaghi to C. F. U. Meek; 1926, sold by Meek back to Colnaghi; 1927, sold by Colnaghi to Alessandro Contini-Bonacossi (b. 1878 - d. 1955), Florence; 1927, sold by Contini-Bonacossi to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth, b. 1847 - d. 1929), Boston; 1927, sold by Mrs. Fitz to the MFA for $25,000. (Accession Date: April 7, 1927) NOTES: [1] Incorrectly stated in the catalogue to measure 29 x 29 inches. Provenance information was provided by the Getty Provenance Index and was taken from Colnaghi stock records.

    Credit Line

    Francis Bartlett Donation of 1912

    Details

    Dimensions

    41.9 x 48.6 cm (16 1/2 x 19 1/8 in.)

    Accession Number

    27.189

    Medium or Technique

    Oil on panel

    Not On View

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  • Apollo and the Muses

    Jacopo Amigoni (Italian (Venetian), about 1685–1752), With Francis Brerewood (British, about 1694–1781)

    Description

    Provenance

    Mid-18th century, Frederick Calvert, 6th Lord Baltimore (b. 1731 - d. 1771), Woodcote Park, Epsom, Surrey, England [see note 1]. By 1927, Eben Howard Gay, Boston, MA; 1927, gift of Eben Howard Gay to the MFA. (Accession Date: September 8, 1927) NOTES: [1] From the drawing room. The painting was not done expressly for this room, but fitted into design by Francis Brerewood, who modified portions of Woodcote Park for Lord Baltimore about 1753-55

    Credit Line

    Gift of Eben Howard Gay

    Details

    Dimensions

    275.6 x 190.5 cm (108 1/2 x 75 in.)

    Accession Number

    27.462a

    Medium or Technique

    Oil on canvas, extended

    Not On View

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  • Apotheosis of Aeneas

    about 1762
    Giovanni Battista Tiepolo (Italian (Venetian), 1696–1770)

    Description

    Tiepolo was internationally acclaimed for his illusionistic, grand-scale paintings. This bozetto,or sketch for a larger work, was made as a preparatory study for an elaborate ceiling painting in the Hall of the Royal Guard in the Royal Palace, Madrid. Diagonal composition, expressive movement, and radiant light are used to create space that opens expansively above the viewer. Although such sketches were made primarily to assist the artist in compositional arrangement, Tiepolo’s rich palette, lively brushstroke, and silvery light make them animated and convincing works in their own right.

    Provenance

    By 1927, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1927, gift of Edward Jackson Holmes to the MFA. (Accession Date: December 29, 1927)

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    67.3 x 51.1 cm (26 1/2 x 20 1/8 in.)

    Accession Number

    27.861

    Medium or Technique

    Oil on canvas

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Portrait of a Young Man

    about 1580–85
    Domenico Tintoretto (Domenico Robusti) (Italian (Venetian), 1560–1635)

    Description

    Provenance

    Around 1830, possibly Sir Richard John Griffith (b. 1784 - d. 1878), Hendersyde Park, Kelso, Borders, Scotland [see note 1]; by descent within the family to Sir Richard John Waldie Griffith (b. 1850), 3d Bart., and Lady Waldie Griffith, Hendersyde Park; 1927, sold by Lady Waldie Griffith to Agnew and Sons, London (stock no. 6753); 1927, sold by Agnew to the MFA. (Accession Date: December 29, 1927) NOTES: [1] Letters from Colin Agnew of Agnew and Sons, London, to Edward J. Holmes of the MFA (December 6, 1927 and December 10, 1927, in MFA curatorial file) reveal that the painting had "been [at Hendersyde Park] for at least a century, having been brought there by an ancestor of the recent owner" and "brought to the British Isles a hundred years ago."

    Credit Line

    Gift of Mrs. W. Scott Fitz and Robert Treat Paine, 2nd

    Details

    Dimensions

    64.8 x 55.3 cm (25 1/2 x 21 3/4 in.)

    Accession Number

    27.862

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Nagoya/Boston Museum of Fine Arts, Japan, September 19, 2015 – February 21, 2016

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  • Entrance to the Arsenal, Venice

    Workshop of Francesco Guardi (Italian (Venetian), 1712–1793)

    Description

    Provenance

    By 1874, Sir Edward Henry Page-Turner, 6th Bart. (d. 1874), Battlesden House, Bedfordshire, England; 1874, by inheritance to his wife, Lady Mary Ann Otway Page-Turner (d. 1902), Battlesden House, Bedfordshire and Brighton, East Sussex, England [see note 1]; February 21, 1903, sold by the estate of Lady Page-Turner at Christie's, London, and purchased by Agnew's, London [Agnew's stock no. 718]; 1904, sold by Agnew's to Horace (Horatio?) Greenough Curtis; by 1927, by inheritance to his wife, Mrs. Horace Greenough Curtis; 1927, given by Mrs. Horace Greenough Curtis to the MFA. (Accession Date: July 21, 1927) NOTES: [1] Lady Page-Turner later remarried, to Thomas Isaac Guest

    Credit Line

    Gift of Mrs. Horatio Greenough Curtis in memory of Horatio Greenough Curtis

    Details

    Dimensions

    39.4 x 47.9 cm (15 1/2 x 18 7/8 in.)

    Accession Number

    27.1328

    Medium or Technique

    Oil on canvas

    Not On View

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  • Christ on the Cross with the Virgin and Saint John the Evangelist

    early 1270s
    Master of the Blue Crucifix (Italian (active in primarily Northern Umbria), 3rd quarter of the 13th century)

    Description

    Provenance

    By 1928, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1928, gift of Edward Jackson Holmes to the MFA. (Accession Date: December 18, 1928)

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    22.9 x 16.8 cm (9 x 6 5/8 in.)

    Accession Number

    28.886

    Medium or Technique

    Tempera on panel

    Not On View

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  • Man of Sorrows

    Master of San Pietro in Sylvis (Pietro da Rimini ?) (Italian (Riminese), active about 1310–1325)

    Description

    Provenance

    By 1926, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1928, gift of Edward Jackson Holmes to the MFA. (Accession Date: December 18, 1928)

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    26.7 x 16.8 cm (10 1/2 x 6 5/8 in.)

    Accession Number

    28.887

    Medium or Technique

    Tempera on panel

    Not On View

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  • Portrait of a Young Man Writing

    about 1560–65
    Alessandro Allori (Italian (Florentine), 1535–1607)

    Description

    Provenance

    Sir George Donaldson, London, England; from Sir George Donaldson to Sedelmeyer, Paris, France; from Sedelmeyer to an anonymous collector or dealer; by 1895, from anonymous collector or dealer to J. Eastman Chase, 346 Boylston, Boston, MA; by 1895, from J. Eastman Chase to George Nixon Black (d. 1929), Boston, MA; 1929, bequeathed by George Nixon Black to the MFA. (Accession Date: March 7, 1929)

    Credit Line

    Bequest of George Nixon Black

    Details

    Dimensions

    64.1 x 48.5 cm (25 1/4 x 19 1/8 in.)

    Accession Number

    29.786

    Medium or Technique

    Oil on panel

    Not On View

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  • Meeting of Solomon and the Queen of Sheba

    about 1464–65
    Apollonio di Giovanni di Tomaso (Italian (Florentine), about 1416–1465), Marco del Buono di Marco (Italian (Florentine), about 1402–1489)

    Description

    Provenance

    By 1919, George Robert White (b. 1847 - d. 1922), Boston; by descent to his sister, Harriet J. (Mrs. Frederick T.) Bradbury (d. 1930), Boston; 1930, bequest of Mrs. Harriet J. Bradbury to the MFA. (Accession Date: July 3, 1930)

    Credit Line

    Bequest of Mrs. Harriet J. Bradbury

    Details

    Dimensions

    52.5 x 185.5 cm (20 11/16 x 73 1/16 in.)

    Accession Number

    30.495

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virtue and Nobility Crowning Love

    Virtue and Nobility Bestowing Honors(?)
    Aurora Dispersing the Clouds of Night (ceiling from the Palazzo Mocenigo, Venice)

    about 1759–61
    Giovanni Battista Tiepolo (Italian (Venetian), 1696–1770)

    Description

    Tiepolo was one of Europe’s most sought-after artists of decorative paintings. This work once decorated the ceiling of a room-perhaps a bedroom-in a palace owned by the Mocenigo family on Venice’s Grand Canal. The figure who wears yellow and holds a statuette almost certainly represents Nobility; the winged figure with the sun is likely Virtue; and the female nude seated on the clouds is probably Venus. The painting may have been made to celebrate a Mocenigo family wedding. The MFA acquired the painting in 1930 without its frame; a quarter-century later, the original gilded frame was found in the palace’s attic, and the two were reunited.

    Provenance

    About 1759-1761, Alvise Mocenigo family, Palazzo Mocenigo (Casa Nuova) at S. Samuele, Venice (original commission) [see note 1]; by descent within the Mocenigo family; 1878, palace inherited by the Robilant family; by descent within the family to the Conte di Robilant, Palazzo Mocenigo (Casa Nuova) at S. Samuele, Venice; about 1930, removed from the Casa Nuova and sold by the Conte di Robilant to Durlacher Brothers, New York [see note 2]; 1930, sold by Durlacher to the MFA for $58,711. (Accession Date: July 17, 1930) NOTES: [1] Stefania Mason, "Il Caso Mocenigo di San Samuele," in Il collezionismo d'arte a Venezia, ed. Linda Borean and Stefania Mason (Venice, 2009), p. 185, has suggested that the commission of this ceiling painting can be associated with the marriage of Alvise V Sebastiano Mocenigo to Chiara Zen in 1759, was probably executed by Tiepolo between 1760 and 1762. [2] The dealer Harold W. Parsons, Rome, acted as an intermediary for this sale. In 1954, Parsons also acted the intermediary for the acquisition of the frame, which had been detached from the canvas and discovered only after the sale of the painting to the MFA.

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    377.2 x 302.9 cm (148 1/2 x 119 1/4 in.)

    Accession Number

    30.539

    Medium or Technique

    Oil on canvas

    On View

    Angelica Lloyd Russell Gallery (Gallery 142)

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  • Madonna of Humility

    Virgin and Child

    about 1442
    Giovanni di Paolo (Italian (Sienese), about 1399–1482)

    Description

    Giovanni di Paolo preferred to emphasize religious sentiment and decorative patterning rather than the illusion of depth and three-dimensional form. In this work, the Virgin, seated on the ground to indicate her humility, cradles her child against a backdrop of strawberries and wildflowers and a sheltering screen of fruit trees. In the distance stretches a landscape of cultivated fields, stony roads, and fortified towns. Still in its original frame and in a near-perfect state of preservation, this panel exemplifies the lyrical quality of Sienese painting.

    Provenance

    By 1909, Eugen Miller von Aichholz (b. 1835 - d. 1919), Vienna. Dr. Albert Figdor (b. 1843 - d. 1927), Vienna; September 29, 1930, posthumous Figdor sale, Cassirer, Berlin, lot 9, sold for M 135,000 to Agnew, London (stock no. 7196); 1930, sold by Agnew to the MFA for $38,625. (Accession Date: December 4, 1930)

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    61.9 x 48.9 cm (24 3/8 x 19 1/4 in.)

    Accession Number

    30.772

    Medium or Technique

    Tempera on panel

    On View

    Italian Renaissance Gallery E (Gallery 219)

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  • The Dead Christ Supported by Angels

    about 1580–88
    Paolo Veronese (Paolo Caliari) (Italian (Venetian), 1528–1588)

    Description

    Paolo Caliari, called Veronese because he was born in Verona, was famous for his large, crowded, and colorful paintings, which decorated the palaces and churches of Venice. Veronese focused here, however, on the harsh physical reality of death. Cold light intensifies the pallor of Christ’s skin, poignantly contrasted with the warm, rosy hand of the angel who clasps his wrist. The intimate scale and meditative mood of this somber devotional image occur only in the artist’s late work.

    Provenance

    1828, possibly Pozzi collection, Milan; June 15, 1828, possibly sold by Pozzi to Count Teodoro Lechi (b. 1778 - d. 1866), Brescia, Italy; 1845, possibly sold by Lechi to Mr. Owen (perhaps Thomas B. Bulkeley-Owen [b. 1790 - d. 1867], Tedsmore Hall, Shropshire, England) [see note 1]. Private collection, Italy; sold from the private collection to Durlacher Bros., New York; 1930, sold by Durlacher to the MFA for $16,000. (Accession Date: December 4, 1930) NOTES: [1] This may be the painting, said to have been acquired from Pozzi and sold to Mr. Owen, that is included in the inventory of Teodoro Lechi. See Fausto Lechi, ed., "I Quadri delle Collezioni Lechi in Brescia: Storia e Documenti" (Florence, 1968), p. 186, inv. no. 120. A letter from Ellis Waterhouse, Oxford, to Lucretia H. Giese of the MFA (February 14, 1979) suggests that "Mr. Owen" may be T. B. Bulkely-Owen.

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    98.1 x 71.4 cm (38 5/8 x 28 1/8 in.)

    Accession Number

    30.773

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child

    Follower of Andrea Mantegna (Italian (Paduan, active in Mantua), about 1431–1506)

    Description

    Provenance

    By 1800, Baron von Quast, Schloss Radensleben, Brandenburg, Germany [see note 1]; until 1933, by descent within the family; sold by the Baron von Quast to Adolfo Loewi, Venice; 1933, sold by Loewi to the MFA for $80,000. (Accession Date: December 22, 1933) NOTES: [1] A letter from Adolfo Loewi to the MFA (February 15, 1934; in curatorial file) states that "according to the family's tradition the picture has belonged to them long before the year 1800." In a letter of December 13, 1933 Loewi states that in 1800 "a Baron Quast undertook the inventorization of the works of art existing in the Mark Brandenberg.... The painting is named in the Brandenburgische Kunstdenkmäler (Government records)." This has not been verified.

    Credit Line

    George Nixon Black Fund

    Details

    Dimensions

    48.5 x 34.6 cm (19 1/8 x 13 5/8 in.)

    Accession Number

    33.682

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child

    Attributed to Lippo Memmi (Italian (Sienese), active in 1317–1350)

    Description

    Provenance

    1919, Paolini, Rome (?) [see note 1]. Grazzini, Florence [see note 2]. 1936, Aldo Janoldo, Rome; 1936, sold by Aldo Jandolo to the MFA for $16,200. (Accession Date: February 6, 1936) NOTES: [1] Laurence Kanter, "Italian Paintings in the Museum of Fine Arts, Boston," vol. 1 13th-15th century (Boston, 1994), cat. no. 14, p. 86. [2] An undated authentication by Giacomo de Nicola states that he had known the painting since the time that it belonged to Signor Grazzini in Florence.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    65.72 x 46.67 cm (25 7/8 x 18 3/8 in.)

    Accession Number

    36.144

    Medium or Technique

    Tempera on panel

    Not On View

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  • Soldiers Playing Cards in a Rocky Landscape

    Circle Of Alessandro Magnasco (Italian (Genoese), 1667–1749)

    Description

    Provenance

    J. T. Irving, Glasgow, Scotland, UK; by 1936, sold to Sackville Gallery, London, England, UK (Max Rothschild) [see note 1]. By 1936, Durlacher Brothers, New York; 1936, sold by Durlacher to the MFA for $1979. (Accession Date: April 2, 1936) NOTES: [1] According to June 18, 1936 letter from Durlacher Bros. in MFA curatorial file.

    Credit Line

    Herbert James Pratt Fund

    Details

    Dimensions

    118.5 x 94 cm (46 5/8 x 37 in.)

    Accession Number

    36.219

    Medium or Technique

    Oil on canvas

    Not On View

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  • Saint Cecilia

    about 1645
    Bernardo Cavallino (Italian (Neapolitan), 1622–1654)

    Description

    Cavallino painted about twenty single-figure religious and allegorical “portraits.” Music was a favorite subject: five of these works depict musicians, including three of Cecilia, their patron saint. Like many artists of his generation, Cavallino used light and shadow to enhance the composition’s drama. His clever depiction of Cecilia’s crimson gown unfurling into the background provides a lyrical, visual interpretation of the tune ushering forth from her violin.

    Provenance

    With Thomas Agnew and Sons, London [see note 1]. By 1928, Metropolitan Galleries, New York; 1935, sold by Metropolitan Galleries to Julius H. Weitzner (dealer), New York [see note 2]; 1936, acquired by exchange from Julius Weitzner by the MFA. (Accession Date: April 16, 1936) NOTES: [1] There is an Agnew label on the reverse of the painting's stretcher. [2] According to Julius Weitzner (letter to James Plaut of the MFA, September 24, 1936): "It was acquired about twenty years ago by a deceased New York dealer at a sale in Christie's as by Caravaggio. The painting was on the New York market for years as by Caravaggio. ...[I]n 1926-1927 when Dr. Hermann Voss...visited New York I took him to see the painting at a Fifth Avenue gallery.... Last Spring I acquired it from the Fifth Avenue gallery." The painting was certainly with Metropolitan Galleries by 1928 (the year Dr. Voss is known to have visited the U.S.); it was featured in an advertisement that ran in Art Quarterly 2, no. 15 (May 1, 1928), as by Caravaggio.

    Credit Line

    William Sturgis Bigelow Collection, by exchange

    Details

    Dimensions

    92.7 x 74.3 cm (36 1/2 x 29 1/4 in.)

    Accession Number

    36.269

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Nobility Holding a Statue of Athena

    Giovanni Antonio Pellegrini (Italian (Venetian), 1675–1741)

    Description

    Provenance

    1936, Frank Gair Macomber (b. 1849 - d. 1941), Boston; 1936, gift of Frank Gair Macomber to the MFA. (Accession Date: November 15, 1936)

    Credit Line

    Gift of Frank Gair Macomber

    Details

    Dimensions

    127.6 x 100.0 cm (50 1/4 x 39 3/8 in.)

    Accession Number

    36.892

    Medium or Technique

    Oil on canvas

    On View

    Angelica Lloyd Russell Gallery (Gallery 142)

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  • Apollo as a Shepherd

    Anton Maria Vassallo (Italian (Genoese), active in 1639–1648)

    Description

    Provenance

    1936, Frank Gair Macomber (b. 1849 - d. 1941), Boston; 1936, gift of Frank Gair Macomber to the MFA. (Accession Date: November 15, 1936)

    Credit Line

    Gift of Frank Gair Macomber

    Details

    Dimensions

    96.5 x 123.5 cm (38 x 48 5/8 in.)

    Accession Number

    36.893

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Doge, probably Pasquale Malipiero

    about 1460-62
    Gentile Bellini (Italian (Venetian), active in 1460, died in 1507)

    Description

    Provenance

    1860s or 1870s, probably purchased in Paris by Thomas Buckminster Curtis, Boston; by descent to his daughter-in-law, Fanny (Mrs. Louis) Curtis, Brookline, MA [see note 1]; given by Mrs. Curtis to the Morgan Memorial Cooperative Industries and Stores, Boston; 1936, sold by Morgan Memorial to the MFA for $20,000. (Accession Date: November 15, 1936) NOTES: [1] According to information provided to the MFA by Mrs. Curtis on April 6, 1937.

    Credit Line

    Anna Mitchell Richards Fund

    Details

    Dimensions

    53.3 x 42.5 cm (21 x 16 3/4 in.)

    Accession Number

    36.934

    Medium or Technique

    Tempera on panel

    Out on Loan

    On display at Sagawa Art Museum, Shiga, June 25, 2016 – August 28, 2016

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  • Presentation of the Virgin in the Temple (?)

    about 1467
    Fra Carnevale (Bartolomeo di Giovanni Corradini) (Italian (Marchigian), active by 1445, died in 1484)

    Description

    This work was part of an altarpiece painted for a church in Urbino, and the repainted area along the top reveals the shape of the original frame. The young Virgin is in the center foreground, dressed in blue. The exact subject matter of this panel remains in doubt, since the Virgin neither climbs the steps of the temple nor is welcomed by the high priest, features generally included in depictions of the Presentation. Fra Carnevale, a Dominican friar, was clearly inspired by ancient Roman architecture and sculpture as well as by the new science of linear perspective, which allowed an artist to create the illusion of deep space on a flat surface.

    Provenance

    1467, Oratory of Santa Maria della Bella, Urbino (original commission); 1632, removed by Cardinal Antonio Barberini (b. 1607 - d. 1671), Rome [see note 1]; by descent to his nephew, Prince Maffeo Barberini (b. 1632 - d. 1685), Rome [see note 2]; until 1935, by descent within the Barberini family to Marchesa Eleanora Corsini Antinori (b. 1861 - d. 1947) and Baronessa Giuliana Corsini Ricasoli (b. 1859 - d. 1959), Florence [see note 3]. 1935, with Robert Frank Ltd., London; 1935, sold by Frank to M. Knoedler and Co., New York (stock no. A 1774); 1937, sold by Knoedler to the MFA for $85,000. (Accession Date: January 14, 1937) NOTES: [1] This painting, along with its companion panel showing the Birth of the Virgin (Metropolitan Museum of Art, New York), was taken by Cardinal Antonio Barberini, Papal Legate at Urbino from 1631 to 1633. On July 30, 1632 the archbishop of Urbino announced the shipment of the panels to the Cardinal, who paid to have them replaced with a painting of the Birth of the Virgin by Claudio Ridolfi. See "From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master (exh. cat. Metropolitan Museum of Art, New York, 2004), p. 258, cat. no. 45, and pp. 306-307. The panels are recorded in the inventories of Antonio Barberini of 1644 (nos. 13, 14) and 1671 (nos. 405, 406); see Marilyn Aronberg Lavin, "Seventeenth-Century Barberini Documents and Inventories of Art" (New York, 1975), pp. 158, 312. [2] The paintings were included in the inventory of bequests of Cardinal Antonio in 1672 (nos. 336, 337) and in the inventory of Prince Maffeo, after 1672 (no. 161); Lavin (as above, n. 1), pp. 349, 369 [3] The daughters of Anna Barberini Colonna (b. 1840 - d. 1911) and Don Tommaso Corsini (b. 1835 - d. 1919).

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    146.4 x 96.5 cm (57 5/8 x 38 in.)

    Accession Number

    37.108

    Medium or Technique

    Oil and tempera on panel

    On View

    Museum Council Gallery (Gallery 254)

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  • The Virgin and Child; Charity of Saint Nicholas; Crucifixion; Christ and the Samarian Woman

    about 1360–76
    Niccoló di Tommaso (Italian (Florentine), active about 1343–1376)

    Description

    Provenance

    Henri Cernuschi (b. 1811 - d. 1896), Paris; May 25-26, 1900, posthumous Cernuschi sale, Galerie Georges Petit, Paris, lot 16 [see note 1], to Galerie Durand-Ruel, Paris and New York; 1901, sold by Durand-Ruel to Eliot Hubbard (b. 1856 – d. 1932) and his wife, Helen Wetherell Faulkner Hubbard (b. 1860 –d. 1937), Cambridge, MA; by descent to their son, Dr. Eliot Hubbard, Jr. (b. 1893 - d. 1977), Cambridge; 1937, gift of Dr. Eliot Hubbard, Jr. to the MFA. (Accession Date: May 5, 1937) NOTES: [1] Attributed to the school of Giotto.

    Credit Line

    Gift of Dr. Eliot Hubbard

    Details

    Dimensions

    Overall: 100.7 x 69.7cm (39 5/8 x 27 7/16in.) Other (Picture surface: Virgin and Child): 78.1 x 52.6 cm (30 3/4 x 20 11/16 in.) Other (Picture surface: predella): 11.4 x 44.1 cm (4 1/2 x 17 3/8 in.)

    Accession Number

    37.409

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child with Saints Christopher, Augustine, Stephen, John the Baptist, Nicholas, and Sebastian

    early 15th century
    Unidentified artist, Italian (Cretan-Venetian), early 15th century

    Description

    Provenance

    15th century, the high altar of Santo Stefano, Monopoli, Italy; before 1871, removed from the church and taken to Naples [see note 1]. By 1892, with Luigi Dell'Erba, Palazzo Della Rocca, Naples [see note 2]. Probably about 1900/1910, acquired by Eliot Hubbard (b. 1856 – d. 1932) and his wife, Helen Wetherell Faulkner Hubbard (b. 1860 –d. 1937) [see note 2]; by descent to their son, Dr. Eliot Hubbard, Jr. (b. 1893 - d. 1977), Cambridge, MA; 1937, gift of Dr. Eliot Hubbard, Jr. to the MFA [see note 3]. (Accession Date: May 5, 1937) NOTES: [1] The altarpiece was reproduced in Demetrio Salazaro’s publication Studi sui Monumenti della Italia Meridionale dal IVo al XIIIo secolo, part 1 (Naples, 1871), pl. xxiv and discussed in part 2 (Naples, 1878), pp. 23-24, as having “at one time adorned the high altar” of the church. [2] Domenico Mora recorded the altarpiece in the possession of Luigi Dell'Erba, Palazzo Della Rocca, Naples, in his "Chartularium del monastero di S. Benedetto di Conservano," vol. 1 (1892), pp. 294-295. [3] A letter from Dr. Eliot Hubbard, Jr., to W. G. Constable of the MFA (January 1, 1940) suggests that his parents acquired the painting when he was a child.

    Credit Line

    Gift of Dr. Eliot Hubbard, Jr.

    Details

    Dimensions

    Center panel: 229.0 x 72.0 cm (90 1/8 x 28 3/8 in.); Side panels: 175.0 x 34.0 cm (68 7/8 x 13 3/8 in.) each of six

    Medium or Technique

    Tempera on panel

    Not On View

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  • Two Peasant Boys with a Basket

    Domenico Maggiotto (Italian (Venetian), 1712–1794)

    Description

    Provenance

    1928, private collection, Paris; by 1928, sold from private collection to the Galerie Chereau, Paris; 1928, sold by the Galerie Chereau to anonymous collector [see note 1]; by 1938, sold from anonymous collector to the Mortimer Brandt Gallery, New York; 1938, sold by Brandt Gallery to the MFA for $1000 [see note 2]. (Accession Date: December 8, 1938) NOTES: [1] Letter from Mortimer Brandt, Mortimer Brandt Gallery, New York to W. G. Constable of the MFA (December 15, 1938): "I telegraphed the party from whom I purchased it. I received the following information....It was purchased in 1928 from the Galerie Chereau...and that gallery represented the painting as having come from the collection of a Russian living in Paris. No other information is available." [2] Accessioned as a work by Giambattista Piazzetta.

    Credit Line

    Charles Edward French Fund

    Details

    Dimensions

    59.7 x 44.8 cm (23 1/2 x 17 5/8 in.)

    Accession Number

    38.1733

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child Enthroned with Saints; Crucifixion; Coronation of the Virgin

    about 1340–50
    Maestro Daddesco (Italian (Florentine), active 2nd quarter of the 14th century)

    Description

    This exquisite panel, unusually divided into three distinct picture fields, was originally the central section of a three-panel altarpiece. The hinges on each side indicate that it once possessed wings that would have folded over the two lower scenes. The unidentified artist was probably also a manuscript illuminator and is called Maestro Daddesco because of his dependence on the style of his Florentine contemporary Bernardo Daddi.

    Provenance

    By 1929, Raymond Henniker-Heaton (Raymond Wyer), Worcester, MA and London; 1930, sold by Henniker-Heaton to Zoe Oliver (Mrs. Henry H. ) Sherman, Boston; 1938, gift of Zoe Oliver Sherman to the MFA. (Accession Date: May 11, 1938)

    Credit Line

    Zoe Oliver Sherman Collection; Gift of Zoe Oliver Sherman in memory of Henry H. Sherman

    Details

    Dimensions

    Madonna and child, 31.11 x 12.7 cm (12 1/4 x 5 in.); Crucifixion, 31.11 x 13.02 cm (12 1/4 x 5 in.); Christ and Virgin, 22.86 x 18.41 cm (9 x 7 1/4 in.)

    Accession Number

    38.1840

    Medium or Technique

    Tempera on panel

    On View

    Museum Council Gallery (Gallery 254)

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  • Fruit and Vase of Flowers on a Ledge

    Pietro Paolini (Italian (Lucchese), 1603–1681)

    Description

    The minute variations in the dusty skins of the figs and the mottled surfaces of the small apples likely indicate that Fruit and Vase of Flowers on a Ledge was painted from nature. The practice of scrutinizing the unique markings and imperfections of an actual object and attempting to recreate them on canvas was popularized by still life artists working in Italy in the late sixteenth century, most notably by Caravaggio. This later still life is attributed to the Tuscan painter, Pietro Paolini, who studied with one of Caravaggio’s followers. In addition to the botanical accuracy described above, the strong contrast of light and shade, the use and form of the vase, and the monochromatic background are all Caravaggesque. The painter artfully contrasts the more haphazard array of fruits and leaves strewn across the ledge with the relatively static arrangement of the flowers in the vase.

    Provenance

    Anonymous collection, Turin. 1938, Matthiesen, Ltd., London; October 1938, sold by Matthiesen to M. Knoedler and Co., New York (stock no. A 2057); 1939, sold by Knoedler to the MFA for $1,400 [see note 1]. (Accession Date: January 12, 1939). NOTES: [1] Accessioned as a work by Luis Meléndez.

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    53.6 x 78.1 cm (21 1/8 x 30 3/4 in.)

    Accession Number

    39.42

    Medium or Technique

    Oil on canvas

    On View

    Jean S. and Frederic A. Sharf Visitor Center (130.10)

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  • Bacino di San Marco, Venice

    about 1738
    Canaletto (Giovanni Antonio Canal) (Italian (Venetian), 1697–1768)

    Description

    Affluent eighteenth-century visitors to the enchanting city of Venice delighted in taking home painted topographical views known as vedute. Canaletto, one of the foremost vedute painters, here animates the entrance to Venice with cargo boats and gondolas that lead the eye back to precisely rendered buildings along the shore. Clearly identifiable are the gothic intricacies of the Doge’s palace at left and the church of San Giorgio Maggiore at right. Light from the cloudy sky, dappling the water with shadow, gives the view grandeur and unity.

    Provenance

    About 1738/1739, possibly Henry Howard (b. 1694 - d. 1758), 4th Earl of Carlisle, Castle Howard, North Yorkshire, England (original commission), or in 1768, acquired in Italy by Frederick Howard (b. 1748 - d. 1825), 5th Earl of Carlisle [see note 1]; by descent within the family to the Hon. Geoffrey William Algernon Howard (b. 1877 - d. 1935), Castle Howard [see note 2]; 1939, sold by the Trustees of the late Hon. Geoffrey Howard through Spink and Son, Ltd., London, to the MFA for $11,731.25. (Accession Date: September 8, 1939) NOTES: [1] Exactly when and how the painting entered the Carlisle collection is unclear. The bulk of the art collection at Castle Howard was acquired by Frederick, 5th Earl of Carlisle, who traveled to Italy in 1768. However, at least some of the paintings by Canaletto may have been acquired by his father, as several unspecified views of Venice by the artist were recorded at the Castle in 1745. The 4th Earl of Carlisle arrived in Venice on his Grand Tour in November, 1738, and he may have commissioned the paintings at that time. This hypothesis is supported by details of the painting's topography, which suggest that it was executed about 1738/1739, that is, when the cupola of the church of S. Antonin was in its final phase of construction. To the right of San Zaccaria one can see the church with scaffolding still on the steeple, and the cupola near completion. On Canaletto paintings in the Howard collection, see W. G. Constable, "Canaletto", 2d ed. (Oxford: Clarendon Press, 1989), vol. 2, pp. 203 and 250, cat. no. 131. On the representation of S. Antonin and the dating of the painting to the late 1730s, see Alessandro Bettagno, "In margine a una mostra," Notizie da Palazzo Albani XII, nos. 1-2 (1983), pp. 227-228, supported by Katharine Baetjer and J. G. Links, "Canaletto" (New York, 1989), pp. 192-196, cat. no. 51. The suggestion that the 4th Earl of Carlisle commissioned the views of Venice from Canaletto in 1738/1739 was made by Charles Beddington (correspondence to the MFA, February 23, 2005). [2] There may have been as many as sixteen paintings by Canaletto in the Castle Howard collection by the early twentieth century. This painting has been identified by Constable (as above, n. 1) as the composition singled out from the collection in 1854 by G. F. Waagen: "Large View of Venice. In every respect one of the best works of this master." See Waagen, Treasures of Art in Great Britain, vol. 3 (London, 1854), p. 323, no. 64. It may also be the "General View of the Harbour in Venice. One of the best works of the master" recorded there in 1851; see Henry Ibbotson, The Visitor's Guide to Castle Howard, pt. 1 (Ganthorpe, 1851), p. 17.

    Credit Line

    Abbott Lawrence Fund, Seth K. Sweetser Fund, and Charles Edward French Fund

    Details

    Dimensions

    124.5 x 204.5 cm (49 x 80 1/2 in.)

    Accession Number

    39.290

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

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  • Virgin and Child

    late 1330s–early 1340s
    Ambrogio Lorenzetti (Italian (Sienese), active in 1317–1348)

    Description

    Provenance

    19th century, Griccioli family, Sant'Eugenio, Monastero (near Siena), Italy [see note 1]; 1904, sold by the Griccioli family to Dan Fellows Platt (b. 1873 - d. 1938), Englewood, NJ; 1938, by inheritance to his widow; 1939, sold by Mrs. Dan Fellows Platt to the MFA for $15,000. (Accession Date: March 9, 1939) NOTES: [1] The abbey church of Sant'Eugenio, closed during the second half of the 18th century, was acquired by the Griccioli family in 1812 and used as a villa.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    75.5 x 45.4 cm (29 3/4 x 17 7/8 in.)

    Accession Number

    39.536

    Medium or Technique

    Tempera on panel

    Not On View

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  • Saint Bernardino

    Sano di Pietro (Italian (Sienese), 1405–1481)

    Description

    Provenance

    By 1902, Costantini, Florence, Italy. Possibly by 1902, J. Templeman Coolidge, Boston, MA; 1939, gift of Coolidge. (Accession Date: December 14, 1939)

    Credit Line

    Gift of John Templeman Coolidge

    Details

    Dimensions

    40.0 x 20.3 cm (15 3/4 x 8 in.)

    Accession Number

    39.801

    Medium or Technique

    Tempera on parchment(?), laid on panel

    Not On View

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  • The Virgin Annunciate

    about 1477–80 (?)
    Neroccio di Bartolomeo de'Landi (Italian (Sienese), 1447–1500)

    Description

    Provenance

    By 1939, J. Templeman Coolidge, Boston, MA; 1939, MFA (gift of Coolidge) Accession Date: December 14, 1939

    Credit Line

    Gift of John Templeman Coolidge

    Details

    Dimensions

    62.2 x 24.0 cm (24 1/2 x 9 7/16 in.)

    Accession Number

    39.802

    Medium or Technique

    Oil and tempera on panel

    Not On View

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  • The Crucifixion

    1360s
    Master of the Urbino Coronation (Italian (Riminese), active about 1340–1380)

    Description

    This painting was originally executed on fresh plaster on a wall in the church of Santa Lucia del Mercato, in the Italian city of Fabriano. The unidentified artist is named for a painting done in the same style now in a museum in Urbino. His art is distinguished by direct emotional appeal and an interest in imposing, substantial bodies. This is one of very few detached frescoes from this period and of this size in an American museum.

    Provenance

    About 1360/1370, church of Santa Lucia del Mercato, Fabriano, Italy (original commission); 19th century, removed from Santa Lucia and transferred to canvas [see note 1]. With Tartuferi, Bologna [see note 2]. 1894 until 1916, Corsini Collection, Palazzo Corsini, Rome. Convent of Sant'Antonio, Rome. Castel Sant'Angelo, Rome. 1929, Professor Publio Podio, Bologna; September, 1929, sold by Podio to Piero Tozzi for the Brummer Gallery, New York [see note 3]; about 1929, sold by the Brummer Gallery to William Randolph Hearst (b. 1863 - d. 1951), New York and Los Angeles; April 19, 1940, sold by Hearst, through Parish-Watson and Co., New York, to the Brummer Gallery (stock no. N4560); 1940, sold by Brummer to the MFA for $15,500. (Accession Date: April 11, 1940) NOTES: [1] Other sections of the fresco cycle are today at the Memorial Art Gallery, Rochester (Annunciation to Zacharias) and the Palazzo Barberini, Rome (Birth of John the Baptist). [2] Information about the provenance of the fresco, from Tartuferi to the Castel Sant'Angelo, is taken from W. G. Constable's article, "A Fresco of the School of Rimini," MFA Bulletin 39, no. 234 (August, 1941): 48. [3] Information about the Brummer Gallery's transactions is taken from a letter from Joseph Brummer to W. G. Constable (May 3, 1940) and an interview with Piero Tozzi (recorded February 11, 1949). The Brummer stock card clarifies that it was purchased in 1940 from Parish-Watson and Co., presumably representing Hearst.

    Credit Line

    Augustus Hemenway Fund

    Details

    Dimensions

    337.8 x 275.6 cm (133 x 108 1/2 in.)

    Accession Number

    40.91

    Medium or Technique

    Fresco transferred to canvas

    On View

    Gothic Gallery (Gallery 218)

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  • Portrait of a Woman

    Imitator of Piero della Francesca (Italian, born about 1415–died in 1492)

    Description

    Provenance

    Counts Connestabile della Staffa, Città di Castello, Umbria; sold by Connestabile della Staffa to the Viganò family, Florence [see note 1]; 1940, sold by Mrs. Beatrice Viganò, through Mortimer Brandt Gallery, New York, to the MFA for $60,000. (Accession Date: May 9, 1940) NOTES: [1] According to a letter from Mortimer Brandt to W. G. Constable of the MFA (May 3, 1940). In correspondence from Mrs. Viganò to George Edgell, Director of the MFA (July 16, 1940), she states that when it was acquired, the panel had been painted over to represent a saint; the profile of a woman was revealed during a cleaning in 1935. Her letter mentions the Magherini Graziani family in Città di Castello along with Connestabile della Staffa, though it is unclear whether the former were previous owners of the work as well.

    Credit Line

    Lucy Houghton Eaton Fund

    Details

    Dimensions

    31.4 x 25.4 cm (12 3/8 x 10 in.)

    Accession Number

    40.237

    Medium or Technique

    Tempera on panel

    Not On View

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  • The Glory of Saint Dominic

    Matteo Bonechi (Italian (Tuscany), about 1672–1752)

    Description

    Provenance

    About 1832, acquired in Europe by George Peabody, Salem, MA; by inheritance to his daughter, Ellen Peabody Endicott; by inheritance to William Crowinshield Endicott, Boston; 1940, gift of Endicott. (Accession Date: June 13, 1940)

    Credit Line

    Given in memory of William Crowninshield Endicott by his wife

    Details

    Dimensions

    47 x 57.8 cm (18 1/2 x 22 3/4 in.)

    Accession Number

    40.548

    Medium or Technique

    Oil on canvas

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

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  • Saint Jerome

    16th century
    After Giovanni Bellini (Italian (Venetian), about 1430–1516)

    Description

    After a lost (destroyed) altarpiece formerly in the Kaiser-Friedrich Museum, Berlin

    Provenance

    Alessandro Contini-Bonacossi (b. 1878 - d. 1955), Florence and Rome; sold by Contini-Bonacossi to Felix M. Warburg (b. 1871 - d. 1937), New York; 1937, by inheritance to Mrs. Warburg, New York; 1941, gift of Mrs. Felix M. Warburg to the MFA. (Accession Date: September 11, 1941)

    Credit Line

    Gift of Frieda Schiff Warburg in memory of her husband, Felix M. Warburg

    Details

    Dimensions

    69.2 x 45.1 cm (27 1/4 x 17 3/4 in.)

    Accession Number

    41.654

    Medium or Technique

    Oil on panel

    Not On View

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  • Virgin and Child with Saint Jerome, Saint Anthony of Padua and Two Angels

    about 1469–72
    Francesco di Giorgio Martini (Italian (Sienese), 1439–1501)

    Description

    Provenance

    1924, Luigi Grassi (b. 1858 - d. 1940), Florence; May 31, 1924, sold by Grassi to Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1941, gift of Edward Jackson Holmes to the MFA. (Accession Date: December 11, 1941)

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    68.6 x 49.5 cm (27 x 19 1/2 in.)

    Accession Number

    41.921

    Medium or Technique

    Tempera on panel

    On View

    Italian Renaissance Gallery (Gallery 206)

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  • The Mystic Marriage of Saint Catherine

    After Paris Bordone (Italian (Venetian), 1500–1571)

    Description

    After a painting in the Galleria di Palazzo Rosso, Genoa

    Richard McLanathan (1950) believed the painting is autograph and Giordana Canova (1964) called it a beautiful workshop copy. Frederick Ilchman has decided in consultation with Peter Humphrey to retain the attribution as “after” Bordone.

    Peter Humphrey confirmed in an e-mail on 10 August 2011 that the Mystic Marriage of Saint Catherine in the Doria Collection (cat. 13, Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting, Washington, 2006) “is definitely the best, and for me the prototype” of the MFA painting. The 1985 Summary Catalogue considered the painting in the Galleria Nazionale, Parma, as the source painting, but the appearance of such a work could not be confirmed. The MFA now recognizes the Doria painting as the source. This is supported in the literature.

    Frederick Ilchman
    10 August 2011

    Provenance

    1882, Domenico Giobbe, Venice; 1882, sold to Thomas and Cornelius Conway Felton [see note 1]; by descent to Eunice Whitney (Mrs. Cornelius Conway) Felton; 1942, bequest of Mrs. Felton to the MFA. (Accession Date: June 9, 1942) NOTES: [1] Sold as a work by Titian.

    Credit Line

    Bequest of Eunice Whitney Felton in memory of her husband, C.C. Felton

    Details

    Dimensions

    195.9 x 235 cm (77 1/8 x 92 1/2 in.)

    Accession Number

    42.388

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child with Saints

    Pietro da Cortona (Pietro Berrettini) (Italian (Roman), 1596–1669)

    Description

    Provenance

    Cardinal Giovanni Francesco Falzacappa (b. 1767 - d. 1840), Rome [see note 1]. 1942, A.F. Mondschein (Frederick Mont), New York; 1942, gift of A. F. Mondschein to the MFA. (Accession Date: September 11, 1942) NOTES: [1] His name is inscribed on the reverse of the canvas.

    Credit Line

    Gift of A. F. Mondschein

    Details

    Dimensions

    72.4 x 61.0 cm (28 1/2 x 24 in.)

    Accession Number

    42.422

    Medium or Technique

    Oil on canvas

    Not On View

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  • Landscape with Bathers

    Attributed to Antonio Carracci (Italian, about 1583–1618)

    Description

    Provenance

    Achillito Chiesa, Milan, Italy; by 1942, sold by Chiesa to Julius H. Weitzner, London and New York [see note 1]; 1942, exchanged with and sold by Weitzner to the MFA.. (Accession Date: June 9, 1942) NOTES: [1] according to letter of November 6, 1942 from Julius Weitzner in curatorial file, this picture was sold to him privately and not through the American Art Association sales. Weitzner also adds that Chiesa may have acquired the picture from his friend Crespi of Milan.

    Credit Line

    Museum purchase with funds by exchange from Bequest of Ernest Wadsworth Longfellow, Bequest of Nathaniel T. Kidder, The Henry C. Angell and Martha B. Angell Collection, William Sturgis Bigelow Collection, Gift of Dr. Harold W. Dana, and funds donated by contribution

    Details

    Dimensions

    40.3 x 61.2 cm (15 7/8 x 24 1/8 in.)

    Accession Number

    42.490

    Medium or Technique

    Oil on canvas

    Not On View

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  • Shipwreck

    Follower of Alessandro Magnasco (Italian (Genoese), 1667–1749)

    Description

    Provenance

    Until 1933, Ludwig Behr (d. 1945), Tutzing, Germany; June 27-28, 1933, Behr sale, Helbing, Munich, lot 176. 1940, private collection, New York; February 15, 1940, sale of private collector, Sotheby Parke-Bernet, New York, lot 42. By 1941, Julius Weitzner, New York; 1942, exchanged with and sold by Weitzner to the MFA. (Accession Date: June 9, 1942)

    Credit Line

    Bequest of Ernest Wadsworth Longfellow; Bequest of Nathaniel T. Kidder; The Henry C. and Martha B. Angell Collection; William Sturgis Bigelow Collection; gift of Dr. Harold W. Dana; and Gifts by Subscription, by exchange

    Details

    Dimensions

    78.7 x 66.0 cm (31 x 26 in.)

    Accession Number

    42.491

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Man Holding a Book

    about 1540
    Titian (Tiziano Vecellio) (Italian (Venetian), about 1488–1576)

    Description

    Titian was one of the first painters to use canvas as a support for nearly all of his portraits. He exploited the texture of the fabric as well as the three-dimensional properties of oil paint to create broken strokes and bold touches. In this portrait, Titian’s red-haired sitter is unidentified, but his book and sword proclaim his learning and noble status. He wears an ostentatious costume with prominent slashes, decorative aglets, and cuffs and collar dotted with pearls. Unlike Titian, he probably wasn’t Venetian—Venetian men of this period preferred solid colored robes.

    Inscription

    Lower left: Ticianus

    Provenance

    Until 1650, possibly the Oneto family, Genoa [see note 1]; 1650, possibly brought by Don Giovan Stefano Oneto and Don Agostino Oneto from Genoa to Palermo, Sicily; by descent within the Oneto family to Don Giuseppe Oneto e Lanza (d. 1852), Duke of Sperlinga, Palermo and Naples; 1864, sold by the heirs of Oneto e Lanza to the Count of Francavilla, Palermo; by descent to his son, Luigi Maria Majorca Mortillaro, Count of Francavilla, Palermo, who owned it until at least 1901 [see note 1]. Thos. Agnew and Sons, Ltd., London [see note 2]. Trotti et Companie, Paris [see note 3]. By 1907, purchased in Paris by Cottier and Company, New York [see note 4]; April 29, 1907, sold by Cottier to Frederick Bayley Pratt (b. 1865 - d. 1945), Brooklyn; April 3, 1943, sold by Pratt to Knoedler and Co., New York (stock no. A2555) and Pinakos, Inc., New York; 1943, sold by Knoedler and Pinakos to the MFA for $70,000. (Accession Date: April 8, 1943) NOTES: [1] The provenance given here (to 1901) is taken from Luigi Maria Majorca Mortillaro, "Ritratto di Giovan Paolo Baglione, Signore di Perugia, dipinto da Tiziano esistente in Palermo nella Galleria Francavilla" (Palermo: Alberto Reber, 1901), written when the painting was in the author's possession. [2] According to a letter from Charles R. Herschel, Knoedler, to W. G. Constable, MFA (April 13, 1943, in MFA curatorial file), "Agnew bought the picture in Palermo from the Count of Francovilla" [sic]. Agnew stockbooks (Getty Research Institute, Records of Thos. Agnew and Sons Ltd., 1852-1938, Microfiche no. 32) record a "Portrait of a Man" by Titian, stock no. 2214, that was sold by dealer Arthur Sulley to Agnew on May 6, 1907, and sold by Agnew to the Paris dealer Alexandre Imbert on July 22, 1907. These transactions postdate the documented acquisition of the painting by Frederick Bayley Pratt, making it difficult to identify with the MFA painting. [3] According to Harold E. Wethey, "The Paintings of Titian," vol. 2, "The Portraits" (London: Phaidon, 1971), p. 106, cat. no. 47. [4] John C. Van Dyke confirmed in letters to James Inglis of Cottier (April 25, 1907) and Frederick Pratt (April 27, 1907) that he saw the painting in Paris with Mr. Inglis, and that his admiration for it may have influenced Mr. Inglis's buying it for Cottier and Co. Whether it was purchased at Trotti is not known.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    97.8 x 77.2 cm (38 1/2 x 30 3/8 in.)

    Accession Number

    43.83

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Healing in the Temple

    Jacopo Palma il Giovane (Palma the Younger) (Italian (Venetian), about 1548–1628), Formerly attributed to Giovanni Battista Maganza (Italian (Vicenzan), 1509–1586)

    Description

    Provenance

    1943, George and Lucia E. Farrington, Auburndale, MA; 1943, gift of George and Lucia E. Farrington to the MFA. (Accession Date: January 11, 1943)

    Credit Line

    Gift of George E. and Lucia E. Farrington

    Details

    Dimensions

    144.8 x 174.6 cm (57 x 68 3/4 in.)

    Accession Number

    43.192

    Medium or Technique

    Oil on canvas

    Not On View

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  • Monkey with Fruit

    Unidentified artist, Italian (Neapolitan), 17th century (Italian (Neapolitan))

    Description

    Provenance

    1944, with Jacob M. Heimann, New York; 1944, gift of Jacob M. Heimann to the MFA [see note 1]. (Accession Date: May 11, 1944) NOTES: [1] Accessioned as a work by Paulo Antonio Barbieri. Given by Heimann and his nephew, L. O. Kipnis.

    Credit Line

    Gift of the firm of Jacob Heimann

    Details

    Dimensions

    45.4 x 34.9 cm (17 7/8 x 13 3/4 in.)

    Accession Number

    44.585

    Medium or Technique

    Oil on canvas

    Not On View

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  • Judgement of Paris

    Unidentified artist, Italian (Veronese), 15th century (Italian (Veronese))

    Description

    Provenance

    By 1922, Frank T. Sabin, London; 1925, sold by Sabin to William Harrison Woodward (b. 1856 - d. 1941), London [see note 1]; 1941, passed to his estate, represented by his son, Arthur M. Woodward, London; 1944, gift of the estate of W. H. Woodward to the MFA. (Accession Date: June 8, 1944) NOTES: [1] This painting was first lent by Mr. Woodward to the MFA in 1939, along with other Italian paintings from his collection. It was donated in 1944 in lieu of payment to the MFA for conservation work the museum conducted on the painting collection. At the time, it was attributed to Michele da Verona. It had also been attributed by Bernard Berenson (Italian Pictures of the Renaissance [Oxford: Clarendon, 1932]) to Giovanni Battista Utili da Faenza.

    Credit Line

    Gift of the William Harrison Woodward Estate, made possible through the Herbert James Pratt Fund

    Details

    Dimensions

    106.0 x 185.3 cm (41 3/4 x 72 15/16 in.)

    Accession Number

    44.659

    Medium or Technique

    Tempera and oil on panel

    Not On View

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  • Male Saint

    about 1498–1500
    Benvenuto di Giovanni (Italian (Sienese), 1436–about 1518)

    Description

    Provenance

    About 1930, acquired in Florence by Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1944, gift of Edward Jackson Holmes to the MFA [see note 1]. (Accession Date: December 14, 1944) Notes: [1] Accessioned as a work of art by Girolamo di Benvenuto and identified as Saint Augustine.

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    28.6 x 28.3 cm (11 1/4 x 11 1/8 in.)

    Accession Number

    44.831

    Medium or Technique

    Tempera on panel

    Not On View

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  • Saint Vincent Ferrer

    about 1498–1500
    Benvenuto di Giovanni (Italian (Sienese), 1436–about 1518)

    Description

    Provenance

    About 1930, acquired in Florence by Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1944, gift of Edward Jackson Holmes to the MFA [see note 1]. (Accession Date: December 14, 1944) Notes: [1] Accessioned as a work of art by Girolamo di Benvenuto and identified as Saint Dominic.

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    28.5 x 28.3 cm (11 1/4 x 11 1/8 in.)

    Accession Number

    44.832

    Medium or Technique

    Tempera on panel

    Not On View

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  • Cherub (fragment)

    Unidentified artist, Italian (Venetian), 18th century (Italian (Venetian))

    Description

    Provenance

    By 1930, the Talleyrand family, Rome; 1930, sold by the Talleyrand family to Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1944, gift of Holmes to the MFA [see note 1]. (Accession Date: December 14, 1944) Notes: [1] The piece was accessioned as a work by Giovanni Battista Tiepolo.

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    61.6 x 54 cm (24 1/4 x 21 1/4 in.)

    Accession Number

    44.833

    Medium or Technique

    Fresco transferred to canvas

    Not On View

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  • Christ before Caiaphas

    Paolo da Caylina (Italian (Brescia), about 1485–about 1545)

    Description

    Provenance

    About 1535/1540, upper meeting hall of the confraternity of Santa Maria de Dom, church of SS Ippolito e Cassiano, Brescia, Italy (original commission) [see note 1]; 1897, frescoes removed and conserved by Giuseppe Steffanoni, Bergamo [see note 2]; 1898, still with Steffanoni. 1903, art market, Venice (?) [see note 3]. 1929, Antonio Carrer, Venice; 1929, sold by Carrer, through Piero Tozzi, to the Brummer Gallery, New York (stock no. P5843); May 31, 1929, sold by Brummer to William Randolph Hearst (b. 1863 - d. 1951), New York; August 13, 1941, sold by Hearst to the Brummer Gallery (stock no. N5203) 1945, sold by Brummer to the MFA for $15,000 [see note 4]. (Accession Date: January 11, 1945) NOTES: [1] This is one in a group of frescoes (MFA accession nos. 45.5 - 45.8, 45.768) that made up part of a cycle of the Passion of Christ in this room. In 1532, the church had been ceded to the confraternity; the members, in turn, commissioned the frescoes. The building is no longer extant; originally situated at the intersection of the Vicolo San Cassiano and the Via Tre Spade (present day Via Carlo Cataneo), it was demolished around 1900. [2] The confraternity was suppressed in 1797, at which time the building was acquired by the city and the upper meeting hall was used as a school. During the second half of the nineteenth century, some of the frescoes were removed; these are today at the church of Santa Maria delle Consolazioni, Brescia, and the Svépmüvészeti Muzeum, Budapest. In 1897, the building was sold to the Società Telefonica di Brescia, the Brescia telephone company. Eleven remaining frescoes were taken down and sent to Bergamo for conservation. In 1898, six of these were selected by the Pinacoteca Tosio e Martinengo, Brescia. The remaining five must be those at the MFA. If additional scenes had completed the cycle, they have today been lost or destroyed. For more information, see Francesco de Leonardis, in Paolo da Caylina il Giovane, ed. Pier Virgilio Begni Redona (Brescia, 2003), cat. no. 50, pp. 165-174. [3] According to Francesco de Leonardis (verbal communication, October, 2005), there is a letter of November, 1903, in the city archives of Brescia from the Soprintendenza (Superintendency of Venice) to the city of Brescia inquiring about the removal of the frescoes and suggesting that at that time they were on the Venetian art market. The response from the city of Brescia has not been located in the archives of the Regia Galleria di Venezia (the present day Accademia Gallery). [4] MFA accession numbers 45.5 - 45.8 were purchased together for $15,000.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    211.5 x 180.3 cm (83 1/4 x 71 in.)

    Accession Number

    45.5

    Medium or Technique

    Fresco transferred to canvas

    Not On View

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  • Judas Betraying Christ

    Paolo da Caylina (Italian (Brescia), about 1485–about 1545)

    Description

    Provenance

    About 1535/1540, upper meeting hall of the confraternity of Santa Maria de Dom, church of SS Ippolito e Cassiano, Brescia, Italy (original commission) [see note 1]; 1897, frescoes removed and conserved by Giuseppe Steffanoni, Bergamo [see note 2]; 1898, still with Steffanoni. 1929, Antonio Carrer, Venice; 1929, sold by Carrer, through Piero Tozzi, to the Brummer Gallery, New York (stock no. P5843); May 31, 1929, sold by Brummer to William Randolph Hearst (b. 1863 - d. 1951), New York; August 13, 1941, sold by Hearst to the Brummer Gallery (stock no. N5204); 1945, sold by Brummer to the MFA for $15,000 [see note 3]. (Accession Date: January 11, 1945) NOTES: [1] This is one in a group of frescoes (MFA accession nos. 45.5 - 45.8, 45.768) that made up part of a cycle of the Passion of Christ in this room. In 1532, the church had been ceded to the confraternity; they, in turn, commissioned the frescoes. [2] The confraternity was suppressed in 1797, at which time the building was acquired by the city and the upper meeting hall was used as a school. During the second half of the nineteenth century, some of the frescoes were removed; these are today at the church of Santa Maria delle Consolazioni, Brescia, and the Svépmüvészeti Muzeum, Budapest. In 1897, the building was sold to the Società Telefonica di Brescia, the Brescia telephone company. Eleven remaining frescoes were taken down and sent to Bergamo for conservation. In 1898, six of these were selected by the Pinacoteca Tosio e Martinengo. The remaining five must be those at the MFA. Other scenes probably completed the cycle, but have been lost or destroyed. For more information, see Francesco de Leonardis, in Paolo da Caylina il Giovane, ed. Pier Virgilio Begni Redona (Brescia, 2003), cat. no. 50, pp. 165-174. [3] MFA accession numbers 45.5 - 45.8 were purchased together for $15,000.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    211.5 x 260.3 cm (83 1/4 x 102 1/2 in.)

    Accession Number

    45.6

    Medium or Technique

    Fresco transferred to canvas

    Not On View

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  • Christ before Pilate

    Paolo da Caylina (Italian (Brescia), about 1485–about 1545)

    Description

    Provenance

    About 1535/1540, upper meeting hall of the confraternity of Santa Maria del Dom, church of SS Ippolito e Cassiano, Brescia, Italy (original commission) [see note 1]; 1897, frescoes removed and conserved by Giuseppe Steffanoni, Bergamo [see note 2]; 1898, still with Steffanoni. 1929, Antonio Carrer, Venice; 1929, sold by Carrer, through Piero Tozzi, to the Brummer Gallery, New York (stock no. P5843); May 31, 1929, sold by Brummer to William Randolph Hearst (b. 1863 - d. 1951), New York; August 13, 1941, sold by Hearst to the Brummer Gallery (stock no. N5201); 1945, sold by Brummer to the MFA for $15,000 [see note 3]. (Accession Date: January 11, 1945) NOTES: [1] This is one in a group of frescoes (MFA accession nos. 45.5 - 45.8, 45.768) that made up part of a cycle of the Passion of Christ in this room. In 1532, the church had been ceded to the confraternity; they, in turn, commissioned the frescoes. [2] The confraternity was suppressed in 1797, at which time the building was acquired by the city and the upper meeting hall was used as a school. During the second half of the nineteenth century, some of the frescoes were removed; these are today at the church of Santa Maria delle Consolazioni, Brescia, and the Svépmüvészeti Muzeum, Budapest. In 1897, the building was sold to the Società Telefonica di Brescia, the Brescia telephone company. Eleven remaining frescoes were taken down and sent to Bergamo for conservation. In 1898, six of these were selected by the Pinacoteca Tosio e Martinengo. The remaining five must be those at the MFA. Other scenes probably completed the cycle, but have been lost or destroyed. For more information, see Francesco de Leonardis, in Paolo da Caylina il Giovane, ed. Pier Virgilio Begni Redona (Brescia, 2003), cat. no. 50, pp. 165-174. [3] MFA accession numbers 45.5 - 45.8 were purchased together for $15,000.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    207.4 x 165.7 cm (81 5/8 x 65 1/4 in.)

    Accession Number

    45.7

    Medium or Technique

    Fresco transferred to canvas

    Not On View

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  • Crucifixion of a Thief

    Paolo da Caylina (Italian (Brescia), about 1485–about 1545)

    Description

    Provenance

    About 1535/1540, upper meeting hall of the confraternity of Santa Maria del Dom, church of SS Ippolito e Cassiano, Brescia, Italy (original commission) [see note 1]; 1897, frescoes removed and conserved by Giuseppe Steffanoni, Bergamo [see note 2]; 1898, still with Steffanoni. 1929, Antonio Carrer, Venice; 1929, sold by Carrer, through Piero Tozzi, to the Brummer Gallery, New York (stock no. P5843); May 31, 1929, sold by Brummer to William Randolph Hearst (b. 1863 - d. 1951), New York; August 13, 1941, sold by Hearst to the Brummer Gallery (stock no. N5202); 1945, sold by Brummer to the MFA for $15,000 [see note 3]. (Accession Date: January 11, 1945) NOTES: [1] This is one in a group of frescoes (MFA accession nos. 45.5 - 45.8, 45.768) that made up part of a cycle of the Passion of Christ in this room. In 1532, the church had been ceded to the confraternity; they, in turn, commissioned the frescoes. [2] The confraternity was suppressed in 1797, at which time the building was acquired by the city and the upper meeting hall was used as a school. During the second half of the nineteenth century, some of the frescoes were removed; these are today at the church of Santa Maria delle Consolazioni, Brescia, and the Svépmüvészeti Muzeum, Budapest. In 1897, the building was sold to the Società Telefonica di Brescia, the Brescia telephone company. Eleven remaining frescoes were taken down and sent to Bergamo for conservation. In 1898, six of these were selected by the Pinacoteca Tosio e Martinengo. The remaining five must be those at the MFA. Other scenes probably completed the cycle, but have been lost or destroyed. For more information, see Francesco de Leonardis, in Paolo da Caylina il Giovane, ed. Pier Virgilio Begni Redona (Brescia, 2003), cat. no. 50, pp. 165-174. [3] MFA accession numbers 45.5 - 45.8 were purchased together for $15,000.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    207 x 125.4 cm (81 1/2 x 49 3/8 in.)

    Accession Number

    45.8

    Medium or Technique

    Fresco transferred to canvas

    Not On View

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  • The Holy Family in Glory with Saints Francis of Paola and Aloysius Gonzaga

    early 1760s
    Francesco Cappella (Italian (Venetian), 1714–1784)

    Description

    Provenance

    By 1922, Baron Bartolomeo Vitali, Milan [see note 1]. By 1940, Jacob M. Heimann, New York [see note 2]; 1945, sold by Heimann to the MFA for $7000. (Accession Date: February 8, 1945) NOTES: [1] Lent to the "Mostra della Pittura Italiana del Seicento e del Settecento," Palazzo Pitti, Florence, 1922, cat. no. 747, where it was attributed to Piazzetta. In Ugo Ojetti et al., La pittura italiana del Seicento e del Settecento alla mostra di Palazzo Pitti (Florence, 1924), p. 49, the painting is attributed to Francesco Cappella. [2] He lent it to the Golden Gate International Exposition (San Francisco, 1940), p. 12, no. 153.

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    167.3 x 121.9 cm (65 7/8 x 48 in.)

    Accession Number

    45.100

    Medium or Technique

    Oil on canvas

    Not On View

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  • Chancellor Florius Senesius

    about 1730–40
    Giuseppe Maria Crespi (Italian (Bolognese), 1665–1747)

    Description

    Provenance

    1935, Carlo Foresti, Milan [see note 1]. By 1939, Jacob M. Heimann, New York; 1945, sold by Jabob M. Heimann to the MFA for $7,500. (Accession Date: February 2, 1945) NOTES: [1] He lent the painting to the "Mostra del Settecento Bolognese" (Palazzo Comunale, Bologna, 1935), cat. no. 12.

    Credit Line

    M. Theresa B. Hopkins Fund

    Details

    Dimensions

    115.5 x 95.9 cm (45 1/2 x 37 3/4 in.)

    Accession Number

    45.101

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

    Collections

    Europe

    Classifications

    Paintings

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  • Christ on the Cross with Saints Francis and Onophrius; The Virgin and Child with Saint Lawrence

    about 1430–40
    Lippo d'Andrea di Lippo (Italian (Florentine), 1370 or 1371–before 1451), Formerly attributed to Cristoforo Cortese (Italian (Venetian), active about 1399–1445)

    Description

    Provenance

    1945, Mr. and Mrs. J. Templeman Coolidge; 1945, gift of Mr. and Mrs. J. Templeman Coolidge to the MFA. (Accession Date: June 14, 1945)

    Credit Line

    Gift of Mr. and Mrs. John Templeman Coolidge

    Details

    Dimensions

    18.41 x 26.5 x 3.17 cm (7 1/4 x 10 7/16 x 1 1/4 in.)

    Accession Number

    45.514

    Medium or Technique

    Tempera on panel

    Not On View

    Collections

    Europe

    Classifications

    Paintings

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  • The Crucifixion with the Virgin and Saint John

    late 1380s
    Agnolo di Taddeo Gaddi (Italian (Florentine), active in 1369–died in 1396)

    Description

    Provenance

    1945, Mr. and Mrs. J. Templeman Coolidge; 1945, gift of Mr. and Mrs. J. Templeman Coolidge. (Accession Date: June 14, 1945)

    Credit Line

    Gift of Mr. and Mrs. John Templeman Coolidge

    Details

    Dimensions

    61.6 x 36.8 cm (24 1/4 x 14 1/2 in.)

    Accession Number

    45.515

    Medium or Technique

    Tempera on panel

    Not On View

    Collections

    Europe

    Classifications

    Paintings

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  • Christ before Herod

    Paolo da Caylina (Italian (Brescia), about 1485–about 1545)

    Description

    Provenance

    About 1535/1540, upper meeting hall of the confraternity of Santa Maria de Dom, church of SS Ippolito e Cassiano, Brescia, Italy (original commission) [see note 1]; 1897, frescoes removed and conserved by Giuseppe Steffanoni, Bergamo [see note 2]; 1898, still with Steffanoni. 1903, art market, Venice (?) [see note 3]. 1914, Walter L. Ehrich and Harold L. Ehrich, New York; 1914, given by the Ehrichs to the Yale University Art Gallery, New Haven, CT; 1945, sold by Yale to the MFA for $3,750. (Accession Date: October 11, 1945) NOTES: [1] This is one in a group of frescoes (MFA accession nos. 45.5 - 45.8, 45.768) that made up part of a cycle of the Passion of Christ in this room. In 1532, the church had been ceded to the confraternity; the members, in turn, commissioned the frescoes. [2] The confraternity was suppressed in 1797, at which time the building was acquired by the city and the upper meeting hall was used as a school. During the second half of the nineteenth century, some of the frescoes were removed; these are today at the church of Santa Maria delle Consolazioni, Brescia, and the Svépmüvészeti Muzeum, Budapest. In 1897, the building was sold to the Società Telefonica di Brescia, the Brescia telephone company. Eleven remaining frescoes were taken down and sent to Bergamo for conservation. In 1898, six of these were selected by the Pinacoteca Tosio e Martinengo, Brescia. The remaining five must be those at the MFA. If additional scenes had completed the cycle, they have today been lost or destroyed. For more information, see Francesco de Leonardis, in Paolo da Caylina il Giovane, ed. Pier Virgilio Begni Redona (Brescia, 2003), cat. no. 50, pp. 165-174. [3] According to Francesco de Leonardis (verbal communication, October, 2005), there is a letter of November, 1903, in the city archives of Venice from the Soprintindenza (Superintendency of Venice) to the city of Brescia inquiring about the removal of the frescoes and suggesting that at that time they were on the Venetian art market. The response from the city of Brescia has not been located in the archives.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    211.5 x 180.3 cm (83 1/4 x 71 in.)

    Accession Number

    45.768

    Medium or Technique

    Fresco transferred to canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

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  • The Crucifixion; the Redeemer with Angels; Saint Nicholas; Saint Gregory

    1311–18
    Duccio di Buoninsegna (Italian (Sienese), active in 1278, died by 1319)

    Description

    Duccio transformed European painting at the dawn of the Italian Renaissance. He was noted for his mastery of crowd scenes and for his ability to create convincing emotional relationships among figures. Here, below the cross, mourners coalesce in shared grief around the swooning Virgin. On the other side, the violent gesticulations of soldiers and onlookers explode outwards in confusion. Duccio himself painted the blessing Christ and angels in the pinnacle as well as the elegant saints on the wings. These saints likely refer to the name of the unidentified patron. One of Duccio’s assistants probably executed most of the central panel, basing his work on prototypes by the master. This intact triptych was a portable object of private devotion, beautiful even when closed: the backs of the wings are painted in imitation of porphyry and marble. Today it is among the greatest Sienese paintings – and one of the best preserved – outside Europe.

    Provenance

    Between 1791 and 1798, probably acquired in Italy by William Young Ottley (b. 1771 - d. 1836), London [see note 1]; by inheritance to his brother, Warner Ottley (d. about 1847); by descent within the Ottley family to Col. Sir John Walter Ottley (b. 1841- d. 1930), Leyton and Surrey, England; between about 1899 and 1904, sold by Ottley to Robert Langton Douglas (b. 1864 - d. 1951), London [see note 2]; June, 1904, sold by Robert Langton Douglas to J. Pierpont Morgan (b. 1837 - d. 1913), Aldenham, Hertfordshire [see note 3]; by inheritance to his son, J. Pierpont Morgan, II (b. 1867 - d. 1943), Aldenham; March 31, 1944, posthumous J. P. Morgan sale, Christie's, London, lot 118, to Duveen Brothers, Inc., London and New York [see note 4]; 1945, sold by Duveen to the MFA for $250,000. (Accession Date: December 13, 1945) NOTES: [1] Ottley lived in Italy between 1791 and 1798 and acquired his collection of Italian paintings there, mostly in Florence and Rome. On the formation of his collection, see J. Allan Gere, "William Young Ottley as a Collector of Drawings," British Museum Quarterly 18, no. 2 (June, 1953), pp. 44-53. The first published reference to this triptych in the Ottley collection is in G. F. Waagen's Kunstwerke und Künstler in England und Paris (Berlin, 1837), vol. 1, p. 395. [2] On the fate of the Ottley collection, see E. K. Waterhouse, "Some notes on William Young Ottley's Collection of Italian Primitives," in Italian Studies Presented to E. R. Vincent (Cambridge, 1962), pp. 272-276. The triptych was in Langton Douglas's possession by 1904, when he sold it. [3] See Denys Sutton, "Robert Langton Douglas: Connoisseurship and Commerce," Apollo 109 (May, 1979), pp. 368-370. [4] Attributed in the auction catalogue to the School of Duccio.

    Credit Line

    Grant Walker and Charles Potter Kling Funds

    Details

    Dimensions

    Center overall, 61.0 x 39.4 cm (24 x 15 1/2 in.); Left overall, 45.1 x 19.4 cm (17 3/4 x 7 5/8 in.); Right overall, 45.1 x 20.2 cm (17 3/4 x 7 15/16 in.)

    Accession Number

    45.880

    Medium or Technique

    Tempera on panel

    On View

    Museum Council Gallery (Gallery 254)

    Collections

    Europe

    Classifications

    Paintings

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    Multimedia
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  • Peasant Girl Catching a Flea

    about 1715
    Giovanni Battista Piazzetta (Italian (Venetian), 1682–1754)

    Description

    The son of a woodcarver, Piazzetta created a strong sense of sculptural form by modelling his figures with light and shadow. Although he also painted altarpieces, the artist is best known for naturalistic images of ordinary life that are characterized by a dignified, sympathetic portrayal of his subjects, often peasants.

    Provenance

    1929, art market, Venice; 1929, purchased in Venice by Sir Horace George Montagu Rumbold (b. 1869 - d. 1941), 9th Bart., Berlin [see note 1]; by inhertance to his son, Sir Horace Anthony Claude Rumbold (b. 1911 - d. 1983), 10th Bart., London [see note 2]; October 26, 1945, Rumbold sale, Christie's, London, lot 634 [see note 3], to David M. Koetser Gallery, London and New York; 1946, sold by Koetser to the MFA for $5700. (Accession Date: June 13, 1946) NOTES: [1] Rumbold was the British ambassador serving in Berlin from 1928 - 1933. [2] A letter from SIr Horace Anthony Claude Rumbold to W. G. Constable of the MFA (November 15, 1946) says that "My father bought them [MFA 46.461 and 46.462] from a dealer in Venice in, I think, the summer of 1929. They were then in our Embassy in Berlin until 1933.... After 1933 they were at the Grosvenor Current in London until the war when they were stored and eventually sold at Christie's." [3] Sold as one of a pair along with MFA no. 46.462

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    74.6 x 96.5 cm (29 3/8 x 38 in.)

    Accession Number

    46.461

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

    Collections

    Europe

    Classifications

    Paintings

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  • Peasant Boy at a Market

    1715–18
    Giovanni Battista Piazzetta (Italian (Venetian), 1682–1754)

    Description

    Provenance

    1929, art market, Venice; 1929, purchased in Venice by Sir Horace George Montagu Rumbold (b. 1869 - d. 1941), 9th Bart., Berlin [see note 1]; by inhertance to his son, Sir Horace Anthony Claude Rumbold (b. 1911 - d. 1983), 10th Bart., London [see note 2]; October 26, 1945, Rumbold sale, Christie's, London, lot 634 [see note 3], to David M. Koetser Gallery, London and New York; 1946, sold by Koetser to the MFA for $5700. (Accession Date: June 13, 1946) NOTES: [1] Rumbold was the British ambassador serving in Berlin from 1928 to 1933. [2] A letter from Sir Horace Anthony Claude Rumbold to W. G. Constable of the MFA (November 15, 1946) says that "My father bought them [MFA 46.461 and 46.462] from a dealer in Venice in, I think, the summer of 1929. They were then in our Embassy in Berlin until 1933.... After 1933 they were at the Grosvenor Current in London until the war when they were stored and eventually sold at Christie's." [3] Sold as one of a pair along with MFA no. 46.462

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    74.3 x 96.5 cm (29 1/4 x 38 in.)

    Accession Number

    46.462

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

    Collections

    Europe

    Classifications

    Paintings

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  • Tetradrachm of Aitolian League with head of Herakles

    Greek
    Hellenistic Period
    about 239–229 B.C.

    Mint: Aitolian League, Aitolia

    Description

    Obverse: Head of the young Herakles to right, wearing lion’s skin, paws knotted under chin.
    Border of dots.
    Reverse: Aetolia seated to right, on a pile of Gaulish shields, spear in right hand and sword in left. She wears kausia, chlamys (around left arm) and short, slipped chiton.
    The ground line is formed by a long trumpet, a dragon-headed Gallic carnyx.
    Inscriptions to left, upwards, and in right field. Monogram at right.

    Provenance

    By 1914: with Jacob Hirsch, Arcisstrasse 17, Munich, Germany (Hirsch auction 34, May 5ff., 1914, lot 319); by date unknown: with A. H. Baldwin & Sons, Ltd., 3 Robert Street, Adelphi, London, W.C. 2; December 11, 1958: purchased by MFA from A. H. Baldwin & Sons, Ltd. for £ 150/0/0

    Credit Line

    Theodora Wilbour Fund in memory of Zoë Wilbour

    Details

    Catalogue Raisonné

    Greek Coins, 1950-1963 (MFA), no. 090.

    Dimensions

    Diameter: 29 mm. Weight: 16.77 gm. Die Axis: 2

    Accession Number

    58.1180

    Medium or Technique

    Silver

    On View

    Michael C. Ruettgers Gallery of Ancient Coins (Gallery 212C)

    Collections

    The Ancient World

    Classifications

    Numismatics, Coins

    More Info

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