Virgin and Child Enthroned with the Archangel Michael, and Saints Lawrence, Stephen, George
Virgin and Child Enthroned with the Archangel Michael, and Saints Lawrence, Stephen, George
- Artist
- Giovanni dal Ponte
- Artist Dates
- 1385-c. 1437
- Artist Nationality
- Italian
- Title
- Virgin and Child Enthroned with the Archangel Michael, and Saints Lawrence, Stephen, George
- Date
- c. 1425-26
- Medium
- tempera on lindenwood panel
- Dimensions
- 92.7 x 58.4 cm (36-1/2 x 23 in); sides: 71.1 x 35.2 cm (28 x 13-7/8 in)
- K Number
- K300
- Repository
- Columbia Museum of Art
- Accession Number
- CMA 1954.23
- Notes
Provenance
Pio Fabbri, Rome, as early as 1906 and still in 1912. [1] (Count Alessandro Contini Bonacossi [1878-1955] Rome-Florence); sold to Samuel H. Kress [1863-1955] on 27 December 1933; gift to the National Gallery of Art in 1939; deaccessioned 1952 and returned to the Samuel H. Kress Foundation; gift to Columbia Museum of Art in 1961, no. CMA 1954.23. [1] First published by C. Gamba in Rivista d'Arte, vol. IV, 1906, p. 164; exhibited at Mostra Retrospettiva, Castel Sant'Angelo, Rome, 1912.
Catalogue Entry
Giovanni dal Ponte
Virgin and Child Enthroned with the Archangel Michael, and Saints Lawrence, Stephen, George
K300
Columbia, S.C., Columbia Museum of Art (54-402/4), since 1954.(1) Wood. Middle panel, 36 1/2 X23 in. (92.7 X 58.4 cm.); sides, each, 28 X 13 7/8 in. (71.1 X 35.2 cm.). Inscribed on book held by Christ in middle pinnacle: ΑΩ (the Beginning and the End). Very good condition except for a few abrasions. Probably painted in the artist's late period, the 1430's, this triptych is especially admired for the St. Michael, weighing souls in the left panel, and the St. George, in the right panel.(2) The mannered, but very spirited, composition of the St. George may be based on a drawing described by Vasari: 'In my book of old and modem drawings is a watercolor drawing by Giovanni in which there is a St. George on horseback killing the dragon ....'(3) The saints flanking the Virgin, although they lack clearly identifying symbols, are dressed as deacons and are probably intended as Sts. Lawrence and Stephen. The Virgin wears fmger rings and earrings, details rare in paintings of the time but found in other examples by this artist.(4) Provenance: Pio Fabbri, Rome (as early as 1906) – exhibited: 'Mostra Retrospettiva,' Castel Sant'Angelo, Rome, 1912. Contini Bonacossi, Florence. Kress acquisition, 1934 – exhibited: 'California Pacific International Exhibition,' Palace of Fine Arts, San Diego, Calif, Feb. 12-Sept. 9, 1936, no. 439 of catalogue, as Giovanni dal Ponte: National Gallery of Art, Washington, D.C. (265), 1941-51;(5) after entering the Columbia Museum of Art: 'Art Treasures for America,' National Gallery of Art, Washington, D.C., Dec. 10, 1961-Feb. 4, 1962, no. 38, as Giovanni dal Ponte.
References
(1) Catalogue byW.E. Suida, 1954, pp. 14f., and by A. Contini Bonacossi, 1962, pp. 32 f, as Giovanni dal Ponte. (2) K300 was first published by C. Gamba (in Rivista d'Arte, vol. IV, 1906, p. 164) as Giovanni dal Ponte, with special praise for the St. Michael. It is listed as his work by A. Venturi (Storia dell'arte italiana, vol. VII, pt. I, 191 I, p. 27). G. Bernardini (in Rasseglla d'Arte, vol. XII, 1912, p. 97) is the only critic who doubts the attribution to Giovanni. R. van Marle (Italian Schools of Painting, vol. IX, 1927, p. 85) places K300 late in Giovanni's career. E. Sandberg-Vavala (in Burlington Magazine, vol. LXXXVIII, 1946, p. 191 n. 2) refers to it as by Giovanni. G. Fiocco, R. Longhi, R. van Marle, F. M. Perkins, A. Venturi (in ms. opinions), and B. Berenson (Italian Pictures ... Florentine School, vol. I, 1963, p. 90) attribute it to Giovanni, differing only as to the dating. (3) Vasari, Le Vite, Milanesi ed., vol. I, 1878, p. 634 (in his life of Giovanni dal Ponte). (4) Vavalà, loc. cit. in note 2, above. (5) Preliminary Catalogue, 1941, p. 86, as Giovanni dal Ponte.