Pietro Talani

1490s

Gregorio di Lorenzo (Master of the Marble Madonnas)

Sculptor, Florentine, c. 1436 - c. 1504

Attributed to Gregorio di Lorenzo (Master of the Marble Madonnas)

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Artwork overview

  • Medium

    marble

  • Credit Line

    Widener Collection

  • Dimensions

    overall: 48.3 x 44 x 23.7 cm (19 x 17 5/16 x 9 5/16 in.)

  • Accession Number

    1942.9.105

Artwork history & notes

Provenance

(Lowengard, Paris); purchased 23 August 1905 by Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[1] inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA.
[1] According to Widener collection cards in NGA curatorial records.

Associated Names

Bibliography

1925

  • Valentiner, Wilhelm R. "The Clarence H. Mackay Collection." Art in America 13, no. 5 (1925): 249, repro. 247.

1928

  • Valentiner, Wilhelm R. "The Italian Renaissance sculptures of the Widener collection." Art News 26, no. 28 (14 April 1928): 16, pl. 8.

1935

  • Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 4, as Benedetto da Majano.

1942

  • Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 7, as by Benedetto da Maiano.

1948

  • Paintings and Sculpture from the Widener Collection. National Gallery of Art, Washington, 1948 (reprinted 1959): 121, repro., as by Benedetto da Maiano.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 146, as by Benedetto da Maiano.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 129, repro., as by Benedetto da Maiano.

1994

  • Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1994: 27, repro.

1999

  • Norman Herz, Katherine A. Holbrow and Shelley G. Sturman. "Marble Sculture in the National Gallery of Art: a Provenance Study." In Max Schvoerer, ed. Archéomatériaux: marbres et autres roches: ASMOSIA IV, Bordeaux, France 9-13 october 1995: actes de la IVème Conférence international de l’Association pour l’étude des marbres et autres roches utilizes dans le passé. Talence, 1999: 101-110.

2011

  • Waldman, Louis A. "Gregorio di Lorenzo in Florence and Hungary: the bust of Ser Piero Talani and an Amazonomachy Fragment from Vàc." In Connors, Joseph, Alessandro Nova, Beatrice Paolozzi Strozzi and Gerhard Wolf, eds. Papers from a colloquium held at the Kunsthistorisches Institut in Florence, Max-Planck-Institut, and at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence, May 9-12, 2007 on occasion of the exhibition in Florence dedicated to Desiderio da Settignano. Venice, 2011: 311-330, repro.

2012

  • Caglioti, Francesco. “Due false attribuzioni a Giovanni Bastianini falsario, ovvero due busti di Gregorio di Lorenzo, ex 'Maestro delle Madonne di marmo.'" In "Conosco un ottimo storico dell’arte...” Per E. Castelnuovo. Scritti di allievi e amici pisani. M. M. Donato e M. Ferretti, Pisa 2012: 207-217, repro. 208.

2013

  • Moskowitz, Anita F. Forging Authenticity: Bastianini and the Neo-Renaissance in Nineteenth-Century Florence. Florence, 2013: 100, fig. 158, fig. 159.

  • Bellandi, Alfredo. “Aggiunte all’attività ritrattistica della scultore fiorentino Gregorio di Lorenzo.” Commentari d’arte: rivista di critica e storia dell’arte 19, no. 54-55 (2013): 56-61.

Inscriptions

across bottom front: .PETRVS.TALANVS.PRESBITER

Wikidata ID

Q63809222

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