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Florentine 15th Century

Matteo Olivieri (?), 1430s

West Building, Main Floor - Gallery 04

Medium

tempera (and oil?) on panel transferred to canvas

Dimensions

overall: 48 x 34.1 cm (18 7/8 x 13 7/16 in.)

framed: 77.5 x 64.5 x 7 cm (30 1/2 x 25 3/8 x 2 3/4 in.)

Credit Line

Andrew W. Mellon Collection

Accession Number

1937.1.15

Artists / Makers

Florentine 15th Century (painter)

Image Use

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Inscription

across bottom: MATHEVS OLIVIERI D[OMO]NI IOANNI FILI[US] (Matteo Olivieri, son of Giovanni)

Provenance

(Stefano Bardini [1836-1922], Florence); sold 1924 to (Duveen Brothers, Inc., London and New York);[1] purchased 15 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[2] gift 1937 to NGA.

[1] A 16 November 1923 cable from the Duveen Paris office describes the Matteo Olivieri and Michele Oliveri and notes "Bardini wants 8000 Pounds pair." Payments were made on 21 January and 7 March 1924. This provenance is given in the Duveen Brothers records (Box 299, Folder 3, accession number 960015, Research Library, The Getty Research Institute, Los Angeles), and in Duveen Pictures in Public Collections of America, New York, 1941: no. 41. The painting cannot be securely identified with any of those listed as belonging to Bardini by F. Scalia and C. De Benedictis, Il Museo Bardini, Florence, 1984: 1:121-125.

[2] The original Duveen Brothers invoice is in Gallery Archives, copy in NGA curatorial files.

Associated Names

Bardini, Stefano
Duveen Brothers, Inc.
Mellon Educational and Charitable Trust, The A.W.

Exhibition History

1927: Fifth Loan Exhibition of Old and Modern Masters, Detroit Institute of Arts, 1927, no. 23, as by Domenico Veneziano.

Bibliography

1941: Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 41, repro., attributed to Domenico Veneziano, as Portrait of Giovanni Olivieri.

1941: Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 57, no. 15, as by Domenico Veneziano.

1942: Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 98, as by Domenico Veneziano.

1949: Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 10, repro., as by Domenico Veneziano

1963: Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 1:62. 2:pl.704, as by Domenico Veneziano.

1965: Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 42, as by Domenico Veneziano.

1968: National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 35, repro., as by Domenico Veneziano.

1975: European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 108, repro., as by Domenico Veneziano.

1979: Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:182-184; 2:pl. 127, as Matteo Olivieri (?).

1985: European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 153, repro.

2003: Boskovits, Miklós, David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, 2003: 266-270, color repro.

2006: Fahy, Everett. "Early Italian paintings in Washington and Philadelphia." The Burlington Magazine 148, no. 1241 (August 2006): 540.

2013: Campbell, Stephen J. and Michael W. Cole. Italian Renaissance Art. New York, 2013: 155-156, color fig. 6.31.

2017: Strehlke, Carl Brandon. "Fra Filippo e Masaccio." In Enrico Parlato, ed. Altro Rinascimento. Il giovane Filippo Lippi e la Madonna di Tarquinia. Exh. cat. Palazzo Barberini, Rome, 2017: 47 n. 28.