Madonna and Child with Saint Jerome and Saint Bernardino of Siena
c. 1480/1485
Artist, Sienese, 1436 - before 1517
Benvenuto di Giovanni
Attributed to
West Building Main Floor, Gallery 8
Artwork overview
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Medium
tempera on panel
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Credit Line
-
Dimensions
overall: 70.3 × 50 cm (27 11/16 × 19 11/16 in.)
framed: 88.9 × 68.58 × 11.43 cm (35 × 27 × 4 1/2 in.) -
Accession Number
1942.9.3
Artwork history & notes
Provenance
Possibly by 1810 kept at the collecting point of the Istituto di Belle Arti, Siena,[1] transferred there from one of the suppressed convents or monasteries. Probably acquired c. 1896 in Italy by (Charles Fairfax Murray, London and Florence), for (Thomas Agnew & Sons, Ltd., London); sold March 1898 to John G. Johnson [1841-1917], Philadelphia; apparently returned to (Thomas Agnew & Sons, Ltd., London); sold 30 September 1898 to Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[2] 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] This is suggested by the wax seal on the reverse of the painting.
[2] The details of ownership by Murray and Agnew's (the painting was Agnew's number 8273) come from the Getty Provenance Index, which indicates the painting was sold to Johnson in March 1898, then to Widener in September of that year. This differs from the Widener collection card (in NGA curatorial files), which documents the 1898 purchase as being in March 1898.
Associated Names
Bibliography
1900
Catalogue of Paintings Forming the Private Collection of P. A. B. Widener. Ashbourne, near Philadelphia. II: Early English and Ancient Paintings. Paris, 1900: cat. 165, repro.
1903
Crowe, Joseph Archer, and Giovan Battista Cavalcaselle. A History of Painting in Italy from the Second to the Sixteenth Century. 6 vols. Ed. Robert Langton Douglas (vols. 1-4) and Tancred Borenius (vols. 5-6). London, 1903-1914: 5(1914):164 n. 1.
1908
Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. A New History of Painting in Italy, from the II to the XVI Century. 3rd edition. 3 vols. Ed. Edward Hutton. London, 1908-1909: 3(1909):118.
1909
Berenson, Bernard. The Central Italian Painters of the Renaissance. 2nd ed. New York, 1909: 148.
1913
Forbes, Edward W. “An Altarpiece by Benvenuto di Giovanni.” Art in America 1 (1913): 178.
1916
Berenson, Bernard, and William Roberts. Pictures in the Collection of P.A.B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania: Early Italian and Spanish Schools. Philadelphia, 1916: unpaginated, repro.
1923
Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1923: unpaginated, repro.
Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 16(1937):395.
1931
Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1931: 154, repro.
1932
Berenson, Bernard. Italian Pictures of the Renaissance. Oxford, 1932: 77.
1936
Berenson, Bernard. Pitture italiane del Rinascimento. Milan, 1936: 66.
1938
Waldmann, Emil. "Die Sammlung Widener." Pantheon 22 (November 1938): 340.
1942
Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 5.
1948
Paintings and Sculpture from the Widener Collection. National Gallery of Art, Washington, 1948 (reprinted 1959): 4, repro.
1961
Coor, Gertrude. Neroccio de' Landi, 1447-1500. Princeton, 1961: 67 n. 223, 203.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 14.
1966
Fredericksen, Burton B., and Darrell Davisson. Benvenuto di Giovanni, Girolamo di Benvenuto, their altarpieces in the J. Paul Getty Museum. Malibu, CA, 1966: 29.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 6, repro.
Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:42.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 26, 646.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 28, repro.
1977
Bandera, Maria Cristina. “Variazioni ai cataloghi berensoniani di Benvenuto di Giovanni.” In Maria Grazia Ciardi Duprè Dal Poggetto and Paolo Dal Poggetto, eds. Scritti di storia dell’arte in onore di Ugo Procacci. 2 vols. Milan, 1977: 1:314.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:65-66; 2:pl. 39.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 46, repro.
1987
Pope-Hennessy, John, with the assistance of Laurence B. Kanter. The Robert Lehman Collection. Vol. 1, Italian Paintings. New York, 1987: 162.
1999
Bandera, Maria Cristina. Benvenuto di Giovanni. Milan, 1999: 120, 123, 125, 143 n. 251, 222, 235, cat. 58.
2002
Quodbach, Esmée. "The Last of the American Versailles: The Widener Collection at Lynnewood Hall." Simiolus 29, no. 1/2 (2002): 94.
2003
Boskovits, Miklós, and David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, D.C., 2003: 111-114, color repro., as Attributed to Benvenuto di Giovanni.
Inscriptions
upper center in the Madonna's halo: AVE.GRATIA.PRENA.DOM[INVS TECVM] (Hail, full of grace the Lord is with thee; from Luke 1:28)
Wikidata ID
Q20174306