Provenance

Carl W. Hamilton

American, 1886 - 1967

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The sculpture is a wooden chair featuring a decorative backrest with a circular emblem in the center that includes a coat of arms and the letters "G M" etched on either side. The chair is made of richly colored brown wood with visible grain patterns and detailed carvings, adding texture and depth. The legs cross in an X pattern and end in carved lion's paws. The armrests have a rolled design. The chair is topped with a blue cushioned seat with tassels at the edges.
Italian 16th Century, Walnut Savonarola Chair with Letters G.M., c. 1520/1540, walnut, Widener Collection, 1942.9.392

Walnut Savonarola Chair with Letters G.M.

Italian 16th Century · c. 1520/1540 · walnut ·  Accession ID  1942.9.392

This vertical portrait shows the head, shoulders, and chest of a young man with smooth, pale skin and shoulder-length, dark blond hair positioned behind a narrow gray, stone ledge. Shown against a black background, the man tilts his head to our left and his eyes cut to our right. His left eyebrow, on our right, is slightly arched over brown eyes. He has a long, straight nose, pale pink lips, and his hair falls down the sides of his face from beneath a crimson-red, flat-topped cap. He wears a brown garment with white linen peeking through at the shoulder seams. The neck and seam down the front are lined with white, perhaps fur. He holds his right hand to his chest with his middle finger overlapping his ring finger.
Sandro Botticelli, Portrait of a Youth, c. 1482/1485, tempera on poplar panel, Andrew W. Mellon Collection, 1937.1.19

Portrait of a Youth

Sandro Botticelli · c. 1482/1485 · tempera on poplar panel ·  Accession ID  1937.1.19

The curving X-frame design of this wood chair creates an hourglass silhouette from the front, and creates a bucket-like seat for the sitter. The front face of the wooden frame is carved with curving vines and stylized bunches of grapes and leaves, and the frame ends with clawed lions’ feet at the bottom. The seat and legs are made up of alternating slats so the chair could fold up. Imagine interlacing your fingers and then moving your palms back and forth—that is how the pivot of this chair works. The arms of the chair, which have a rounded knob at each front end, rest along the top edges of the slats. The back rail connects at the back of the arms. A crest at the center of the back rail is flanked by the capital letters “A” to the left and “G” to the right. The crest and letters are contained within a medallion-like form, and the sides of the back rail dip down to meet the arms. A worn, pale blue velvet cushion rests on the seat, and has tassels at the front corners. The chair is shown against a pale gray background.
Italian 16th Century, Walnut Savonarola Chair with Letters A.G., c. 1520/1540, walnut, Widener Collection, 1942.9.382

Walnut Savonarola Chair with Letters A.G.

Italian 16th Century · c. 1520/1540 · walnut ·  Accession ID  1942.9.382

Dozens of people form a line starting from an opening in a city wall or building in the background to a rustic shed-like structure close to us, to kneel before a seated woman holding a baby on her lap in this vertical painting. All of the people have pale skin tinged faintly with green. The top edge of the panel is shaped so it has two rounded sections like shoulders leading to a stepped, crown-like form with an inward curving triangle at the top. A nickel-gray, crenelated stone wall of a distant city is nestled into the top, stepped section, with a glimmering gold sky above filling the uppermost triangle. Tile-roofed and domed buildings and a few towers appear densely packed beyond the wall. People on foot and horseback create a line from an arched opening in the wall toward us and to our right. Three of the people on horseback in the distance wear long robes and have gold halos. The line of people winds behind a tall, narrow hill to our right and it continues close to us. Two horses, two camels, and several people wait to the right but our attention is drawn to the trio in the foreground, Mary, Jesus, and Joseph, and the three men near the infant, the Magi. Mary wears a lapis-blue mantle covering her head and shoulders over a petal-pink dress, and she sits on a wooden or stone chest in the center of the painting. Her body faces us but she turns her face to look with pale blue eyes off to our right. In one hand she holds a hexagonal gold vessel that tapers to a flame-like finial. With the other hand, on our left, she supports the blond infant sitting in her lap. He is covered only with a white cloth around his waist, and he looks toward the vessel as he holds up the index and middle fingers of his right hand. To our left and slightly behind Mary, a balding man with white hair and beard and wearing a blue garment under a red robe sits with his head propped in his hand, looking down. His other hand rests on what might be the handle of a crutch or staff. The man, woman, and child have gold halos with what appears to be writing. The three Magi also have gold halos and they all wear scarlet-red shoes. The oldest kneels before Mary and kisses Jesus's feet. He has a long, light gray beard and is balding. He wears a brocade-like gold robe over pale brick-red sleeves. A cleanshaven man with dark brown hair and wrinkles around his mouth kneels to our left as he raises a jewel-encrusted gold crown from his head. He wears a gold and red floral-patterned garment and holds a rounded vessel, also with a flame-like finial. A younger, cleanshaven man with smooth features and shoulder-length, curling blond hair to our right also wears a gold crown. A dagger hangs from the waist of his sky-blue tunic, and his leggings are pale plum purple. Both arms are bent to his hands are held up, and in his right hand, he holds another tabernacle-like gold vessel. The structure to our left houses a donkey and bull munching hay. A gold sunburst floats above the roof, which seems to be built up against the stone wall of a building. The hills and trees beyond the people is painted with pine and moss greens and brown.
Benvenuto di Giovanni, The Adoration of the Magi, c. 1470/1475, tempera on poplar panel, Andrew W. Mellon Collection, 1937.1.10

The Adoration of the Magi

Benvenuto di Giovanni · c. 1470/1475 · tempera on poplar panel ·  Accession ID  1937.1.10

Shown from the waist up, a young woman holds a baby up against her chest in this vertical painting. They both face us and have pale skin. The woman holds the baby against the right side of her chest, to our left, and she tips her slender, oval face toward him. She looks out at us with hazel eyes under thin, arched brows. She has a long nose, smooth cheeks, and a pale pink, bow mouth. The neckline and the cuffs of her garnet-red gown peek out from beneath a dark, spruce-blue, gold-edged mantle that covers her head and wraps around her body. One forearm rests along a surface marbled in red, brown, and tan. With her other hand, she supports the chest of the baby, who wears a long, white robe. The sleeves and hemline are pushed up to reveal his pudgy arms and the leg we can see. The infant has wavy, reddish-brown hair, delicate features, and large, green eyes under faint brows. His head also tilts to our left, and he gazes off in that direction. His exposed left leg, on our right, dangles over the woman’s arm, his toe nearly brushing the tabletop. His other leg is tucked within the folds of her robe. The long fingers of her free hand curl around the child’s hidden leg. The pair are warmly lit from the upper left and set against a dark, earth-brown background.
Giovanni Bellini, Madonna and Child, c. 1480/1485, oil on panel, Samuel H. Kress Collection, 1939.1.352

Madonna and Child

Giovanni Bellini · c. 1480/1485 · oil on panel ·  Accession ID  1939.1.352

A young, nude, light-skinned man stands in the center of a rocky, mountainous landscape in this square painting. The man’s muscular body faces us but he turns his head in profile to our right as he looks down at the coral-red cloth he drops onto the ground. He is cleanshaven with prominent eyebrows, a straight nose, and his lips are slightly parted. He has thick, reddish-brown hair with bangs across his forehead, and there is a red-edged, glimmering, gold, plate-like halo across the crown of his head. He leans slightly to the side as he drops the red cloth onto a white one, already on the ground. With his other hand, he holds a fawn-brown animal skin or cloth over that shoulder. The man is surrounded by tan and parchment-brown, deeply ridged, mostly barren mountains. The pointed peaks nearly reach the top of the painting. The rocky mountains are interspersed with a few dark green bushes. A light blue stream curves in a shallow S shape along the right side of the painting. Peaks in the far distance are icy blue against a sky that deepens from topaz blue along the horizon to navy blue at the top edge. Some puffy and some thin white clouds float across the sky.
Domenico Veneziano, Saint John in the Desert, c. 1445/1450, tempera on panel, Samuel H. Kress Collection, 1943.4.48

Saint John in the Desert

Domenico Veneziano · c. 1445/1450 · tempera on panel ·  Accession ID  1943.4.48

Puccio di Simone, Allegretto Nuzi, Madonna and Child Enthroned with Saints and Angels, and Saints Anthony Abbot and Venantius [entire triptych], 1354, tempera on panel, Andrew W. Mellon Collection, 1937.1.6.a-c

Madonna and Child Enthroned with Saints and Angels, and Saints Anthony Abbot and Venantius [entire triptych]

Puccio di Simone, Allegretto Nuzi · 1354 · tempera on panel ·  Accession ID  1937.1.6.a-c

This altarpiece is made up of three panels, with a single man standing in each of the narrow wings to the left and right and a wider panel at the center, which shows a woman holding a baby as twenty-two people look on. The background behind all the people is gold, and the top of each panel comes to a rounded, pointed arch under a second taller, sharper point. Spiraling columns frame the left and right sides, and rows of semicircular shapes, like inverted scallops, run inside the curving arches. In the central panel, the woman, child, and people around them all have pale skin and blond hair except for two elderly men with gray hair and beards. They all have plate-like gold halos that overlap, sometimes obscuring the face of another person. The woman and child, Mary and Jesus, sit on an unseen chair on two wide steps. They gaze at each other while Mary gently touches Jesus’s chin. Her lapis-blue mantle covers her hair and wraps around her body. The robe is edged with gold and has gold starbursts on one shoulder and on the crown of her head. Jesus’s garment is patterned with blue and gold against a dark orange background, and it wraps around his lower body. He holds a bird in one hand, touches Mary’s robe with the other, and a piece of coral hangs from a cord around his neck. Most of the people on each side wear azure-blue, pale peach, or brick-red garments decorated with gold. There are three inscriptions in this central panel. Mary’s halo is inscribed with “SCA MARIA MATER DEI” and Jesus’s halo reads, “IIS XRO M.” A third inscription across the bottom of the panel is partially damaged, but some of it reads, “LIIII QUESTA TA ATTA FRE FRATE GIOVANNI DA.” In the wing to our left, a balding, bearded man wearing a brown cloak over a black robe stands facing our right almost in profile. His pale skin has a dark, ash-gray cast. The hood of the black robe lies across his shoulders. He holds a wooden crutch with a curved top in the hand closer to us, and holds up his other hand with his palm facing us, fingers slightly curled in. A halo around his head is incised into the gold background and is filled with letters reading, “SaS ANTONIVS O VIENA.” Nearly lost against his dark robes, a black boar or pig stands near his feet. The floor here and in the right panel have a brocade-like pattern with three-lobed, gold designs against a field of brick red. The right wing is filled by a blond, cleanshaven young man standing facing our left as he looks toward Mary and Jesus in the center. He wears a long orange tunic decorated with blue flowers, and has a peacock-blue cloak and matching boots. Flags patterned with gold against black or red backgrounds flutter from a staff he holds with his right hand, farther from us. His other hand rests on the gold belt at his waist. His inscribed halo reads, “SCS. VENANCIVS MRTIRI.” The three panels are separated by spiraling gold columns and topped with triangular gables. The gables are filled with stylized leaves and animals in muted shades of brown against a black background. Near the pointed tops of the panels, the side wings have three-lobed shapes filled with a winged angel on the left and a person with a halo holding a hand to the chest on the right. The central gable has a four-lobed shape showing a man hanging on a cross.
Puccio di Simone, Allegretto Nuzi, Saint Anthony Abbot [left panel], 1354, tempera on panel, Andrew W. Mellon Collection, 1937.1.6.a

Saint Anthony Abbot [left panel]

Puccio di Simone, Allegretto Nuzi · 1354 · tempera on panel ·  Accession ID  1937.1.6.a

This altarpiece is made up of three panels, with a single man standing in each of the narrow wings to the left and right and a wider panel at the center, which shows a woman holding a baby as twenty-two people look on. The background behind all the people is gold, and the top of each panel comes to a rounded, pointed arch under a second taller, sharper point. Spiraling columns frame the left and right sides, and rows of semicircular shapes, like inverted scallops, run inside the curving arches. In the central panel, the woman, child, and people around them all have pale skin and blond hair except for two elderly men with gray hair and beards. They all have plate-like gold halos that overlap, sometimes obscuring the face of another person. The woman and child, Mary and Jesus, sit on an unseen chair on two wide steps. They gaze at each other while Mary gently touches Jesus’s chin. Her lapis-blue mantle covers her hair and wraps around her body. The robe is edged with gold and has gold starbursts on one shoulder and on the crown of her head. Jesus’s garment is patterned with blue and gold against a dark orange background, and it wraps around his lower body. He holds a bird in one hand, touches Mary’s robe with the other, and a piece of coral hangs from a cord around his neck. Most of the people on each side wear azure-blue, pale peach, or brick-red garments decorated with gold. There are three inscriptions in this central panel. Mary’s halo is inscribed with “SCA MARIA MATER DEI” and Jesus’s halo reads, “IIS XRO M.” A third inscription across the bottom of the panel is partially damaged, but some of it reads, “LIIII QUESTA TA ATTA FRE FRATE GIOVANNI DA.” In the wing to our left, a balding, bearded man wearing a brown cloak over a black robe stands facing our right almost in profile. His pale skin has a dark, ash-gray cast. The hood of the black robe lies across his shoulders. He holds a wooden crutch with a curved top in the hand closer to us, and holds up his other hand with his palm facing us, fingers slightly curled in. A halo around his head is incised into the gold background and is filled with letters reading, “SaS ANTONIVS O VIENA.” Nearly lost against his dark robes, a black boar or pig stands near his feet. The floor here and in the right panel have a brocade-like pattern with three-lobed, gold designs against a field of brick red. The right wing is filled by a blond, cleanshaven young man standing facing our left as he looks toward Mary and Jesus in the center. He wears a long orange tunic decorated with blue flowers, and has a peacock-blue cloak and matching boots. Flags patterned with gold against black or red backgrounds flutter from a staff he holds with his right hand, farther from us. His other hand rests on the gold belt at his waist. His inscribed halo reads, “SCS. VENANCIVS MRTIRI.” The three panels are separated by spiraling gold columns and topped with triangular gables. The gables are filled with stylized leaves and animals in muted shades of brown against a black background. Near the pointed tops of the panels, the side wings have three-lobed shapes filled with a winged angel on the left and a person with a halo holding a hand to the chest on the right. The central gable has a four-lobed shape showing a man hanging on a cross.
Puccio di Simone, Allegretto Nuzi, Madonna and Child Enthroned with Four Saints and Eighteen Angels [middle panel], 1354, tempera on panel, Andrew W. Mellon Collection, 1937.1.6.b

Madonna and Child Enthroned with Four Saints and Eighteen Angels [middle panel]

Puccio di Simone, Allegretto Nuzi · 1354 · tempera on panel ·  Accession ID  1937.1.6.b

This altarpiece is made up of three panels, with a single man standing in each of the narrow wings to the left and right and a wider panel at the center, which shows a woman holding a baby as twenty-two people look on. The background behind all the people is gold, and the top of each panel comes to a rounded, pointed arch under a second taller, sharper point. Spiraling columns frame the left and right sides, and rows of semicircular shapes, like inverted scallops, run inside the curving arches. In the central panel, the woman, child, and people around them all have pale skin and blond hair except for two elderly men with gray hair and beards. They all have plate-like gold halos that overlap, sometimes obscuring the face of another person. The woman and child, Mary and Jesus, sit on an unseen chair on two wide steps. They gaze at each other while Mary gently touches Jesus’s chin. Her lapis-blue mantle covers her hair and wraps around her body. The robe is edged with gold and has gold starbursts on one shoulder and on the crown of her head. Jesus’s garment is patterned with blue and gold against a dark orange background, and it wraps around his lower body. He holds a bird in one hand, touches Mary’s robe with the other, and a piece of coral hangs from a cord around his neck. Most of the people on each side wear azure-blue, pale peach, or brick-red garments decorated with gold. There are three inscriptions in this central panel. Mary’s halo is inscribed with “SCA MARIA MATER DEI” and Jesus’s halo reads, “IIS XRO M.” A third inscription across the bottom of the panel is partially damaged, but some of it reads, “LIIII QUESTA TA ATTA FRE FRATE GIOVANNI DA.” In the wing to our left, a balding, bearded man wearing a brown cloak over a black robe stands facing our right almost in profile. His pale skin has a dark, ash-gray cast. The hood of the black robe lies across his shoulders. He holds a wooden crutch with a curved top in the hand closer to us, and holds up his other hand with his palm facing us, fingers slightly curled in. A halo around his head is incised into the gold background and is filled with letters reading, “SaS ANTONIVS O VIENA.” Nearly lost against his dark robes, a black boar or pig stands near his feet. The floor here and in the right panel have a brocade-like pattern with three-lobed, gold designs against a field of brick red. The right wing is filled by a blond, cleanshaven young man standing facing our left as he looks toward Mary and Jesus in the center. He wears a long orange tunic decorated with blue flowers, and has a peacock-blue cloak and matching boots. Flags patterned with gold against black or red backgrounds flutter from a staff he holds with his right hand, farther from us. His other hand rests on the gold belt at his waist. His inscribed halo reads, “SCS. VENANCIVS MRTIRI.” The three panels are separated by spiraling gold columns and topped with triangular gables. The gables are filled with stylized leaves and animals in muted shades of brown against a black background. Near the pointed tops of the panels, the side wings have three-lobed shapes filled with a winged angel on the left and a person with a halo holding a hand to the chest on the right. The central gable has a four-lobed shape showing a man hanging on a cross.
Puccio di Simone, Allegretto Nuzi, Saint Venantius [right panel], 1354, tempera on panel, Andrew W. Mellon Collection, 1937.1.6.c

Saint Venantius [right panel]

Puccio di Simone, Allegretto Nuzi · 1354 · tempera on panel ·  Accession ID  1937.1.6.c

Bibliography

1960

  • Birnbaum, Martin. The Last Romantic. New York, 1960: 101.

1970

  • Towner, Wesley. The Elegant Auctioneers (New York, 1970), 453-454.