Advanced Search 
View: Front
Assumption and Coronation of the Virgin
Formerly attributed to: Francesco di Giorgio (1439–1502)
Italian
15th century?
Object Place: Europe, Siena, Italy
Medium/Technique
Metal; bronze
Dimensions
47.63 x 33.02 cm (18 3/4 x 13 in.)
Credit Line
Arthur Tracy Cabot Fund
Accession Number55.620
NOT ON VIEW
CollectionsEurope
ClassificationsSculpture
DescriptionBronze, in pointed arch with flat rim, almost full-round figures of the Virgin (on scrolled bracket with cherub's head beneath), two supporting angels (others and cherubim in relief) with bust of God Father holding crown.
ProvenanceHenri Cernuschi (b. 1821 - d. 1896), Paris. By 1910, J. Pierpont Morgan (b. 1837 - d. 1913), New York [see note 1]; sold from the Morgan collection to Duveen Brothers, London and New York [see note 2]; 1955, sold by Duveen to the MFA for $9000. (Accession Date: October 20, 1955)
NOTES:
[1] See Wilhelm von Bode, Catalogue of the J. Pierpont Morgan Collection: Bronzes of the Renaissance and Subsequent Periods (1910), p. 24, cat. no. 85.
[2] The exact date of sale is not known, although Duveen acquired a number of objects directly from Morgan's collection shortly after his death. A letter from Edward Fowles of Duveen to Leo Planiscig (February 26, 1949; Duveen Brothers Records, Getty Research Institute, Box 242, folder 50) states that the sculpture "came from the Morgan collection many years ago." When Duveen sold the relief to the MFA, it was attributed to Francesco di Giorgio.
NOTES:
[1] See Wilhelm von Bode, Catalogue of the J. Pierpont Morgan Collection: Bronzes of the Renaissance and Subsequent Periods (1910), p. 24, cat. no. 85.
[2] The exact date of sale is not known, although Duveen acquired a number of objects directly from Morgan's collection shortly after his death. A letter from Edward Fowles of Duveen to Leo Planiscig (February 26, 1949; Duveen Brothers Records, Getty Research Institute, Box 242, folder 50) states that the sculpture "came from the Morgan collection many years ago." When Duveen sold the relief to the MFA, it was attributed to Francesco di Giorgio.