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Carlo Crivelli

Italy (1430 -  1494 ) Wikipedia® : Carlo Crivelli
CRIVELLI Carlo Madonna Con Bambino

Blindarte Casa d'Aste /Nov 26, 2016
20,000.00 - 30,000.00
Not Sold

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Artworks in Arcadja

Some works of Carlo Crivelli

Extracted between 11 works in the catalog of Arcadja
Carlo Crivelli - The Madonna And Child At A Marble Parapet, An Apple And A Gourdhanging From A Niche Behind

Carlo Crivelli - The Madonna And Child At A Marble Parapet, An Apple And A Gourdhanging From A Niche Behind



Gross Price
Lot number: 68
Measurements note
61.3 by 44 cm.; 24 1/8 by 17 1/4 in.
tempera on panel
Eugene Bracht, Berlin, 1898-1907;Dr. Hermann Eissler, Vienna, 1924-27;With Marshall Field, New York, 1932;With Duveen Brothers, New York, 1933;The Fermor-Hesketh Collection, from which sold, London, Christie's,8 July 1988, lot 133, reproduced on the cover of the catalogue,where acquired by the present owner for £550,000.
Berlin, Kunstwerke des Mittelalters und der Renaissance ausBerliner Privatbesitz, 1898.
G. Gronau, Ausstellung von Kunstwerke des Mittelalters und derRenaissance: die Venezianer, exhibition catalogue, Berlin,1898;G. McNeil Rushforth, Carlo Crivelli, London 1900, pp.100-101;L. Testi, La Storia della Pittura Veneziana, vol. II, Bergamo 1915,p. 684;A. Venturi, Storia dell'Arte Italiana, vol. VII, part 3, Milan1914, p. 394;B.S. Long, Victoria and Albert Museum Catalogue of the JonesCollection. Part III. Paintings and Miniatures, London 1923, p.6;F. Drey, Carlo Crivelli und Seine Schule, Munich 1927, pp. 67 and105, reproduced plate XCI (as attributed to the 'Master of theBrera Predella');L. Burchard & A. Scharf, in W.R. Valentiner ed., UnknownMasterpieces in Public and Private Collections, London 1930, p.10;B. Berenson, Italian Pictures of the Renaissance, Oxford 1932, p.162;L. Venturi, Italian Painting in America, vol. II, 1933;B. Berenson, Italian Pictures of the Renaissance. Venetian School,vol. I, London 1957, p. 71;A. Bovero, Tutta la pittura del Crivelli, Milan 1961, pp.76-77;P. Zampetti, Carlo Crivelli, Milan 1961, p. 85;C.M. Kaufmann, Victoria and Albert Museum, Catalogue of ForeignPaintings. Part I. Before 1800, London 1973, pp. 78-79;A. Bovero, L'opera completa del Crivelli, Milan 1975, p. 97, 143, reproduced;P. Zampetti, Carlo Crivelli, Florence 1986, p. 276, under no. 56,and p. 302, reproduced;R. Lightbown, Carlo Crivelli, New Haven & London 2004, pp.460-61, reproduced in colour plate 222 and on the back cover.
This painting of The Madonna and Child is one of Crivelli's lastsurviving Madonna paintings and, to quote Ronald Lightbown, 'one ofhis most beautiful'.1 It has been unanimously acceptedby scholars as an autograph work by Carlo Crivelli with the soleexception of Drey who attributed the painting to the 'Master of theBrera Predella' (see below), incorrectly describing it as a partialcopy after Crivelli's signed picture in the Victoria & AlbertMuseum, London, commonly referred to as 'The JonesMadonna'.2 Despite the 'Jones Madonna' preceding thepresent work by some years – it is dated by Lightbown to circa 1480– there are certainly similarities in the figures' poses and it canbe plausibly argued that the latter is reliant upon the former forits design. The two paintings differ considerably in executionhowever and numerous details are entirely different: the figuresare inside and not set before a landscape background; the ChristChild is clothed and not just wearing a swaddling cloth round hiswaist; the Madonna's costume is entirely different and is paintedrather than decorated with pastiglia work; the Christ Child has asmaller halo and wears a pearl headband; and the fruit hangs eitherside of the figures rather than along a garland above and behindthem. Other smaller details introduced in the design of thisMadonna and Child demonstrate Crivelli's renewed interpretation andreinvention of an earlier theme; for example, the apple the ChristChild holds has been turned slightly so that its stem pointsdownwards rather than upwards and a leaf is still attached; He sitsmore comfortably on a cushion and a rich cloth of gold rather thanon the Madonna's robe; and the Madonna's translucent veil adds apoint of movement in what is otherwise a very still composition.Considered by Gronau to be an early work, datable to circa 1470,subsequent scholars (Bovero, Zampetti and Lightbown in particular)have favoured instead a more plausible dating towards the end ofthe artist's career, that is circa 1490-93.
The use of the parapet was adopted by Crivelli in other works ofthis type and it is a motif to which Giovanni Bellini also turnedfor his paintings of the Madonna and Child. The parapet sets aboundary between the beholder and the divine figures beyond it – asort of boundary between heaven and earth – and this is crucial tothe painting's function. Other examples in Crivelli's œuvre includea signed Madonna and Child from the sacristy of San Francesco adAlto, Ancona, now in the Pinacoteca Civica, where the figures areset outside before a landscape, and his Madonna and Child in theNational Gallery of Art, Washington, where the figures are setinside against a gold-leaf background.3 The use of atrompe l'œil marble niche finds its most immediate parallel in thepredella of the Brera's Coronation of the Virgin, which is signedand dated 1493 and is thus the artist's last knownwork.4 The predella was dismembered and panels are nowdispersed in three different museum collections: Blessing Christand Saint Onophrius (Rome, Museo di Castel Sant'Angelo);5 Saints Louis of Anjou, Jerome and Peter andSaints Paul, Augustine and Romuald (Paris, MuséeJacquemart-André);6 and Saints Bernardino of Siena,Anthony of Padua and Dominic (Esztergon, KeresztényMúzeum).7 Drey noted the similarities between theseworks and the present Madonna and Child and this led him toattribute the latter to the 'Master of the Brera Predella' whilefailing to recognise that all these paintings are in fact lateautograph works by Crivelli himself.
The Madonna supports the Christ Child with her elongated fingersplaced elegantly and protectively before Him in the foreground. TheChild is drawn close to His mother but turns outwards. He clutchesthe apple that represents the Passion; also a symbol of man'sredemption against the Fall. The peach hanging upper left issymbolic of man's redemption on the cross and the gourd opposite ofChrist's Resurrection, whilst the vine-leaves to which it isattached are probably a reference to Christ as founder of theChurch.8 The symbolism within the painting and thepresence of vine-leaves led Lightbown to suppose that the panel wasan ecclesiastical rather than secular commission, and he went sofar as to speculate that it may be identifiable with a Madonnacited in the Franciscan convent of Castel Fidardo, recorded byColucci in 1795 and since untraced.9 The Madonna'sdownward glance and the fact that both figures look out certainlyseem to invite us to kneel before this intimate image of privatedevotion.
1. See Lightbown, under Literature, p. 460.2. Reproduced in colour in Lightbown, op. cit., p. 267, plate108.3. The first, datable to circa 1487-88, is reproduced in colour inLightbown, ibid., p. 372, plate 169. The second, datable to circa1489-91, is reproduced in colour in idem, p. 389, plate 177.4. Reproduced in colour in idem, p. 451, plate 213.5. Idem, p. 457, plate 220, and p. 459, plate 221.6. Idem, pp. 454-55, plates 215 and 216.7. Idem, p. 456, plates 217-19.8. Idem, p. 461, citing John 15:1,5.9. Idem, pp. 461 and 530, footnote 29.
Carlo Crivelli - A Male Saint Holding A Book

Carlo Crivelli - A Male Saint Holding A Book



Gross Price
Lot number: 89
CARLO CRIVELLI (Venice 1430/5-c.1495)
A male saint holding a book
tempera on gold ground panel
10 5/8 x 8 1/8 in. (27 x 20.7 cm.)
Pre-Lot Text
Lot Notes
This panel, which may represent an evangelist, is as Everett Fahy independently pointed out, one of the missing elements of the predella of Carlo Crivelli's altarpiece of 1472, the main element of which is the Madonna and Child Enthroned (Linsky Collection, Metropolitan Museum of Art). Pietro Zampetti (1961) suggested that the predella of this polyptych consisted of Christ (Philbrook Art Center, Tulsa) and a series of single panels of the apostles: Saint Peter (Yale Art Center); Saint John the Evangelist and Saint Bartholomew (Museo Castello Sforzesco, Milan); and Saint Andrew (Proehl Collection, Amsterdam). The tooling of the halo corresponds to that of the other elements of the predella.
Carlo Crivelli - Madonna And Child

Carlo Crivelli - Madonna And Child

Starting price:


Net Price
Lot number: 23
Tempera on panel: 56 3/4 x 25 1/4 in.
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