Overview

No overview available.

Inscription

above the saint's halo: S[ANCTUS]; above the saint's shoulders: PAU LUS; on the lower frame below the worshippers: [ANNO DOMI]NI.MCCCXXXIII M...II.ESPLETUM FUIT H[O]C OPUS (In the year of the Lord 1333... this work was finished)

Marks and Labels

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Provenance

The often-repeated statement in the earlier literature that the panel comes from the Florentine monastery of San Felice in Piazza[1] does not seem to be based on any secure, or at any rate documented, evidence. Perhaps more plausible, based at least on the identity of the saint, is the more recent proposal of a provenance either from the Florentine Ospedale di San Paolo or from the nearby church of San Paolino, since a handwritten annotation on an old photograph indicated its provenance “dai padri di San Paolino.”[2] Elia Volpi [1858–1938], Florence, by the early 1900s;[3] (his sale, American Art Galleries, New York, 21-27 November 1916, seventh day, no. 1040, as “Primitive school of Tuscany, early XVth century”); (Bourgeois Galleries, New York);[4] purchased January 1920 by (Duveen Brothers, Inc. London, Paris, and New York);[5] sold 15 December 1936 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh;[6] gift 1937 to NGA.

Exhibition History

1910
Palazzo Davanzati, Florence, between September 1910 and 1916.
1921
Loan Exhibition of Painting and Sculpture by Italian Artists of the Fourteenth, Fifteenth and Sixteenth Centuries, Cincinnati Art Museum, 1921, no catalogue.
1933
Sixteenth Loan Exhibition of Old Masters. Italian Paintings of the XIV to XVI Century, Detroit Institute of Art, 1933, no. 3.

Bibliography

1919
Sirén, Osvald. "A Great Contemporary of Giotto, 1." The Burlington Magazine for Connoisseurs 35 (1919): 228 (repro.), 229, 230, 236.
1920
Sirén, Osvald. "The Buffalmaco Hypothesis: Some Additional Remarks." The Burlington Magazine for Connoisseurs 37 (1920): 183.
1923
Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 3(1924):276, 277, 287, 290.
1927
Offner, Richard. "A Great Madonna by the St. Cecilia Master." The Burlington Magazine for Connoisseurs 50 (1927): 97.
1931
Venturi, Lionello. Pitture italiane in America. Milan, 1931: no. 27, repro.
1933
Valentiner, Wilhelm R. "Die Leihausstellung frühitalienischer Malerei in Detroit." Pantheon 12 (1933): 238, repro. 239.
1933
Venturi, Lionello. Italian Paintings in America. 3 vols. Translated by Countess Vanden Heuvel and Charles Marriott. New York and Milan, 1933: 1:no. 34, repro.
1935
Valentiner, Wilhelm R. "Giovanni Balducci a Firenze e una scultura di Maso." L’Arte 38 (1935): 29, fig. 25.
1937
Cecchi, Emilio. Giotto. Milan, 1937: 174, pl. 177.
1937
"The Mellon Gift. A First Official List." Art News 35 (20 March 1937): 15.
1940
Paatz, Walter and Elisabeth Paatz. Die Kirchen von Florenz: ein kunstgeschichtliches Handbuch. 6 vols. Frankfurt am Main, 1940-1954: 2(1941):51.
1941
Coletti, Luigi. I Primitivi. 3 vols. Novara, 1941-1947: 2(1946):xli.
1941
Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 12, repro., attributed to Giotto, as St. Paul with Twelve Adorers.
1941
National Gallery of Art. Book of Illustrations. Washington, 1941: 114 (repro.), 233.
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 80-81, no. 3, as by Follower of Giotto.
1941
Richter, George Martin. "The New National Gallery in Washington." The Burlington Magazine for Connoisseurs 78 (June 1941): 177 n. 3.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 116, as by Follower of Giotto.
1942
Coletti, Luigi. "Contributo al problema Maso-Giottino." Emporium 98 (1942): 463-464.
1949
Coletti, Luigi. "Il Maestro colorista di Assisi." Critica d’arte 8-9 (1949-1950): 447.
1949
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 7, repro., as by Follower of Giotto.
1950
Florisoone, Michel. Giotto. Paris, 1950: 116 n. 6.
1951
Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 23 n. 1.
1951
Galetti, Ugo, and Ettore Camesasca. Enciclopedia della pittura italiana. 3 vols. Milan, 1951: 2:1604, 1606.
1952
Salvini, Roberto, ed. Tutta la pittura di Giotto. Biblioteca d’arte Rizzoli. Milan, 1952: 52.
1963
Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 1:58.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 297, repro., as by Follower of Giotto.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 36.
1966
Vigorelli, Giancarlo, and Edi Baccheschi. L’opera completa di Giotto. 1st ed. Milan, 1966: repro. 122-123.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 29, repro.
1969
Wilkins, David G. Maso di Banco: A Florentine Artist of the Early Trecento. PhD diss. University of Michigan, 1969. Ann Arbor, MI, 1979: 214.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 63, 437, 645.
1973
Preiser, Arno. Das Entstehen und die Entwicklung der Predella in der italienischen Malerei. Hildesheim and New York, 1973: 37, 38, fig. 10.
1975
Boskovits, Miklós. Pittura fiorentina alla vigilia del Rinascimento, 1370-1400. Florence, 1975: 22, 195 n. 47, 243 n. 201.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 90, repro.
1975
Fremantle, Richard. Florentine Gothic Painters from Giotto to Masaccio: A Guide to Painting in and near Florence, 1300 to 1450. London, 1975: 47, 50, fig. 92.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. National Gallery of Art. 2 vols. Washington, 1979: 1:152-153; 2:pl. 107.
1981
Salvini, Roberto. Giotto: Werkverzeichnis. Die großen Meister der Malerei. Frankfurt, 1981: 94, fig. 191.
1982
Tambini, Anna. Pittura dall’Alto Medioevo al Tardogotico nel territorio di Faenza e Forlì. Faenza, 1982: 112.
1983
Labriola, Ada. "Daddi, Bernardo." In Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. Edited by Günter Meissner. 83+ vols. Munich and Leipzig, 1983+: 23(1999):356.
1983
Volpe, Carlo. "Il lungo percorso del ‘dipingere dolcissimo e tanto unito.’" In Storia dell’arte italiana 2: dal Medioevo al Novecento. pt. 1, dal Medioevo al Quattrocento. Edited by Federico Zeri, Giulio Bollati and Paolo Fossati. Turin, 1983: 265 n. 11, 275 n. 23.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 73, no. 12, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 111, repro.
1985
Ferrazza, Roberta. "Elia Volpi e il Commercio dell’arte nel primo Trentennio del Novecento." In Studi e ricerche di Collezionismo e Museografia, Firenze 1820-1920. Pisa, 1985: 414 n. 50.
1985
Wilkins, David G. Maso di Banco: a Florentine Artist of the Early Trecento. New York, 1985: 209.
1992
Boskovits, Miklós, ed. The Martello Collection: Further Paintings, Drawings and Miniatures 13th-18th Centuries. Florence, 1992: 54.
1993
Ferrazza, Roberta. Palazzo Davanzati e le collezioni di Elia Volpi. Florence, 1993: 128, 174 (repro.), 216 n. 52, 220 n. 70.
1993
Meoni, Lucia. San Felice in Piazza a Firenze. Florence, 1993: 41 fig. 27, 44.
1994
Conti, Alessandro. "Maso, Roberto Longhi e la tradizione offneriana." Prospettiva 73-74 (1994): 36, 38 fig. 6, 43 n. 19.
1994
Ladis, Andrew and Hayden B. J. Maginnis. "Sculpture’s Pictorial Presence: Reflections on the Tabernacles of Orsanmichele." Studi di storia dell’arte 5-6 (1994-1995): 45, 49 n. 3, 53 fig. 6.
1994
Skaug, Erling S. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting with Particular Consideration to Florence, c. 1330-1430. 2 vols. Oslo, 1994: 1:99, 108, 110 n. 174; 2:punch chart 5.3.
1996
Neri Lusanna, Enrica. "Daddi, Bernardo." In The Dictionary of Art. Edited by Jane Turner. New York and London, 1996: 8:442.
2004
Secrest, Meryle. Duveen: A Life in Art. New York, 2004: 444.
2004
Strehlke, Carl Brandon. Italian Paintings, 1250-1450, in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, 2004: 102 n. 4.
2005
Boskovits, Miklós, and Daniela Parenti, eds. Da Bernardo Daddi al Beato Angelico a Botticelli: dipinti fiorentini del Lindenau-Museum di Altenburg. Exh. cat. Museo di San Marco. Florence, 2005: 70.
2008
Skaug, Erling S. "Bernardo Daddi’s Chronology and Workshop Structure as Defined by Technical Criteria." In Da Giotto a Botticelli: pittura fiorentina tra gotico e rinascimento. Atti del convegno internazionale Firenze, Università degli Studi e Museo di San Marco, May 20-21, 2005. Edited by Francesca Pasut and Johannes Tripps. Florence, 2008: 82-83.

Technical Summary

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