This is one of the finest devotional paintings by Raffaellino del Garbo, who trained in Filippino Lippi's workshop and assisted in Lippi's great fresco decorations in the church of Santa Maria Sopra Minerva, Rome, from 1488–1492. In the nervous line, the rather eccentric classical architecture, and the cool palette, Raffaellino comes close the style of Filippino, who may have been responsible for the design of the painting. The Virgin’s face has suffered and the green underpainting of the flesh tones is now too prominent.
Inscription: Inscribed (on angel's halo): [A]NGELVS·GRAD[VAL]
Ivan Iraklievich Kuris, Odessa (by 1884–d. 1898); his widow, Liubov' Ivanovna Kuris, Odessa and Dresden (1898–1911; sold to Duveen]; [Duveen, New York, 1911–12; sold for $95,000 to Altman]; Benjamin Altman, New York (1912–d. 1913)
Odessa. Imperial Novorossiia University. "Snimki s predmetov i kartin iz sobraniia Iv. Ir. Kurisa, byvshikh na vystavke VI archeologicheskogo s'ezda v Odesse 1884 goda," 1884, no. 11 (as a Holy Family by Filippino Lippi, lent by Ivan Iraklievich Kuris).
Odessa. Obshchestvo popecheniia o bol'nykh detiakh g. Odessy [Society for the care of sick children in Odessa]. "Katalog vystavki proizvedenii iskusstv i redkikh veschei [Exhibition catalogue of works of art and rare objects]," 1888, no. 283 (as a Holy Family by Filippino Lippi, lent by Ivan Iraklievich Kuris).
New York. The Metropolitan Museum of Art. "Florentine Paintings in the Metropolitan Museum," June 15–August 15, 1971, no catalogue.
THIS WORK MAY NOT BE LENT, BY TERMS OF ITS ACQUISITION BY THE METROPOLITAN MUSEUM OF ART.
Handbook of the Benjamin Altman Collection. New York, 1914, p. 68, no. 45, as a late work by Filippino Lippi, painted about 1500, "for many years in the collection of Madame de Couriss at Dresden".
François Monod. "La galerie Altman au Metropolitan Museum de New-York (1er article)." Gazette des beaux-arts, 5th ser., 8 (September–October 1923), p. 183, as a late work by Filippino Lippi.
Handbook of the Benjamin Altman Collection. 2nd ed. New York, 1928, p. 41, no. 15.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 12, The Renaissance Painters of Florence in the 15th Century: The Third Generation. The Hague, 1931, p. 352, fig. 229, attributes it to Filippino Lippi and finds it probably contemporary with his frescoes in the Strozzi chapel of Santa Maria Novella, Florence, painted 1500–1502.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 286, lists it as a late work by Filippino Lippi.
Alfred Scharf. "Die frühen Gemälde des Raffaellino del Garbo." Jahrbuch der preuszischen Kunstsammlungen 54 (1933), p. 159, attributes it to Raffaellino del Garbo.
Alfred Scharf. Filippino Lippi. Vienna, 1935, p. 119, no. 165, fig. 215.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 246.
F. Mason Perkins. Letter. March 24, 1938, suggests that it is a late work by Filippino.
Katharine B. Neilson. Filippino Lippi: A Critical Study. Cambridge, Mass., 1938, p. 217, fig. 113, attributes it to an assistant working from a design by Filippino in about 1500.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 49–50, ill., attributes it to the workshop of Filippino Lippi.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 110.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 173–74, ill., tentatively attribute it to Raffaellino del Garbo, stating that it is very similar to Filippino's late style; suggest that it was created in Filippino's workshop, from his cartoon.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 171, 349, 606.
Gail L. Geiger. "Filippino Lippis 'Wunder des heiligen Thomas von Aquin' im Rom des späten Quattrocento." Zeitschrift für Kunstgeschichte 47, no. 2 (1984), p. 254, fig. 4, suggests that Filippino painted the figure of the Madonna, comparing it with the figure of Theodora in the fresco of Saint Thomas Aquinas in Santa Maria sopra Minerva in Rome.
Colin Simpson. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986, pp. 135–37, 295 [British ed., "The Partnership: The Secret Association of Bernard Berenson and Joseph Duveen," London, 1987].
Meryle Secrest. Duveen: A Life in Art. New York, 2004, pp. 114, 456.
Viktor Mikhalchenko and Oleg Sivirin. Da budet pravda: istoriia dvorianskogo roda Kurisov, vozrozhdenie iz zabveniia [transliterated Russian title, which in English translates as "Let There be Truth: History of the Noble Family of Kuris, Rescue from Oblivion"]. Odessa, 2005, pp. 101 (no. 11), 290, provides ownership history between the Kuris collection and Duveen [see Ex collections] and reprints parts of catalogues for 1884 and 1888 Odessa exhibitions which included this picture.
Artist: Andrea Mantegna (Italian, Isola di Carturo 1430/31–1506 Mantua)Date: shortly after 1450Medium: Tempera on canvas, transferred from woodAccession: 32.130.2On view in:Gallery 606
Artist: Francesco Francia (Italian, Bologna ca. 1447–1517 Bologna)Date: 1510Medium: Tempera on wood, transferred from wood to canvas and then again to woodAccession: 14.40.638On view in:Gallery 605
Artist: Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Siena 1398–1482 Siena)Date: 1445Medium: Tempera and gold on canvas, transferred from woodAccession: 06.1046On view in:Gallery 625
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