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12 articles
Exhibition Review
Le Blason des temps nouveaux: Signes, emblèmes et couleurs dans la France de la Renaissance
02/2023 | 1439 | 165
Pages: 185-188
related names
Reviewer:
Bertrand, Pascal-François (Bertrand, Pascal-François)
Subjects
dates:
Reviewed Items
subjects:
Le Blason des temps nouveaux: Signes, emblèmes et couleurs dans la France de la Renaissance Musée national de la Renaissance – château d’Écouen 19th October 2022–6th February 2023 | :
Illustrations
Attributed works:
19. Detail from a copy of Leonardo da Vinci’s Last Supper, by Marco d’Oggiono, showing the coat of arms of Gabriel Gouffier. 1506– 09. Oil on canvas, 260 by 549 cm. (RMN-Grand Palais, Paris; Musée national de la Renaissance – château d’Écouen).
Western art unattributed:
18. Cipher box with the arms of Henri II. France (Paris?), 1547–59. Engraved and gilt copper, inlaid iron, 25 by 11 cm. (Musée national de la Renaissance – château d’Écouen).
Western art unattributed:
20. Tapestry with the arms and initials of Claude d’Urfé. c.1525–50. Wool, silk and gilt threads, 328 by 358 cm. (Private collection).
Article
‘Fully armed in plate of war’: making the effigy of the Black Prince
11/2021 | 1424 | 163
Pages: 997-1009
related names
Author:
Barker, Jessica (Barker, Jessica)
Author:
Mcarthur, Graeme (Mcarthur, Graeme)
Author:
Pegues, Emily (Pegues, Emily)
Subjects
media:
Illustrations
Attributed works:
14. The soffit of the tester over the monument to the Black Prince. Late fourteenth century. 440 by 192 by 30 cm. Oak, polychromy and gilding. (© Fitzwilliam Museum, Cambridge).
Attributed works:
15. Detail from La vie du Prince Noir, by the Chandos Herald, showing the Black Prince venerating the Trinity. c.1385. Illumination on parchment, octavo 23.5 by 14 cm. (Senate House, London, MS 1, fol.1; reproduced with the permission of Senate House Library, University of London).
Attributed works:
8. The Black Prince’s funeral achievements, clockwise from top left: sword, helmet, gauntlets. (Photographs by kind permission of Canterbury Cathedral).
Attributed works:
9. Endoscopic view of the interior of the effigy from the bascinet toward the chest cavity and legs. (© Waygate Technologies). a. Join of interlocking teeth connecting the torso piece with the underside of the eventail at the throat; b. Iron interlocking pins at the inside of the chest; c. Tailbone bolt; d. Pin holding the legs together at the thigh; e. Hollow legs; and f. Iron interlocking pins.
Western art unattributed:
1. The tomb of the Black Prince in its setting in the Trinity Chapel, Canterbury Cathedral. (Photograph the authors).
Western art unattributed:
10. Badge of the Black Prince venerating the Trinity. c.1376. Lead, 10.3 by 7.9 cm. (British Museum, London; © The Trustees of the British Museum).
Western art unattributed:
11. Impression of the seal of the Black Prince, affixed to a charter dated 19th July 1362. Wax, diameter 5 cm. (The National Archives, London, E/30/1106; © Lloyd de Beer, reproduced by kind permission from The National Archives, Kew).
Western art unattributed:
12. Tomb of Edward III. c.1386. Gilded brass effigy, Purbeck marble tomb chest and oak tester. (Confessor’s Chapel, Westminster Abbey, London; © Dean and Chapter of Westminster).
Western art unattributed:
13. Detail of Fig.12, showing the face of Edward III. (© Dean and Chapter of Westminster; Alamy).
Western art unattributed:
2. The effigy of the Black Prince on his tomb. c.1386. Gilded brass, with silvered and enamel details. (Trinity Chapel, Canterbury Cathedral; photograph by kind permission of Canterbury Cathedral).
Western art unattributed:
3. Detail of champlevé enamels on the effigy’s sword belt. (Photograph the authors).
Western art unattributed:
4. Drawing of the effigy, indicating names for the armour. (© Matilde Grimaldi).
Western art unattributed:
5. Side view of the effigy and tomb chest of the Black Prince. Gilded brass, enamel and Purbeck marble. (© Michael Freeman; Alamy).
Western art unattributed:
6. Drawing of the effigy, indicating its construction. (© Matilde Grimaldi).
Western art unattributed:
7. The gauntlets on the Black Prince’s effigy. (Photograph the authors).
Article
Pintoricchio in Rome: a design for Domenico della Rovere
09/2021 | 1422 | 163
Pages: 792-797
related names
Author:
Rinaldi, Furio (Rinaldi, Furio)
Subjects
media:
places:
Illustrations
Attributed works:
1. The Evangelist St Matthew with two angels (design for a lunette), by Pintoricchio. c.1485–90. Pen and brown ink and brown wash over traces of black chalk, ruling and compass work on laid paper, lower right corner made up, 24.9 by 28.9 cm. (Fine Arts Museums of San Francisco).
Attributed works:
2. Four designs for grotesques and a head of Medusa, by Pintoricchio. c.1483. Pen and two hues of brown ink over metalpoint (silver), on grey prepared paper, 27.2 by 17.8 cm. (Staatliche Museen zu Berlin, Kupferstichkabinett).
Attributed works:
3. The Virgin and the blessing Child, by Pintoricchio. c.1480. Pen and brown ink and brown wash over traces of black chalk, 21.4 by 14.7 cm. (Private collection).
Attributed works:
4. Detail of Fig.1, showing the coat of arms of Cardinal Domenico della Rovere.
Attributed works:
5. Coat of arms of Cardinal Domenico della Rovere, by Pintoricchio and workshop. c.1490. Fresco. (Sala degli Apostoli e Profeti, Palazzo dei Penitenzieri, Rome).
Attributed works:
6. Apostle, by the workshop of Pintoricchio. c.1490. Fresco. (Sala degli Apostoli e Profeti, Palazzo dei Penitenzieri, Rome).
Attributed works:
7. St Matthew, by Bendetto da Maiano. c.1490. Glazed terracotta, overall dimensions 108 by 217 cm., glazed lunette 66 by 133 cm. (Sacristy of St Matthew, Basilica of S. Maria, Loreto).
Article
A second Paston prospective rediscovered
07/2021 | 1420 | 163
Pages: 569-575
related names
Author:
Jervis, Simon (Jervis, Simon; J., S.; J., S. S.)
Author:
Lloyd, Stephen (Lloyd, Stephen)
Subjects
dates:
subjects:
Illustrations
Attributed works:
10. Detail of Fig.2, showing the statue with a heraldic crest.
Attributed works:
2. A Paston prospective: a palace with a lake and gondolas. c.1640. Oil on canvas, 119.4 by 164 cm. (National Trust, Hughenden Manor, Buckinghamshire).
Attributed works:
3. Venetian carnival scene on a terrace, by Pieter de Jode the Elder after Ludovico Pozzoserrato (Lodewijk Toeput). c.1595–98. Line engraving, 37 by 50.8 cm. (Rijksmuseum, Amsterdam).
Attributed works:
4. Detail of Fig.3, showing gondolas.
Attributed works:
5. Frontispiece to T. Coryat: Coryats Crudities, London 1611, engraved by William Hole. Engraving, 21.2 by 15.5 cm.
Attributed works:
6. Female novices going to visit their relations by gondola, by Giacomo Franco. c.1610. Engraving, 24.4 by 18.9 cm. (From G. Franco: Habiti d’Huomeni et Donne venetiane, Venice 1610; Bibliothèque nationale de France, Paris).
Attributed works:
7. The doge attending vespers and mass at S. Giorgio Maggiore, Venice, on Christmas day, by Giacomo Franco. c.1610. Engraving, 24.4 by 18.9 cm. (From G. Franco: Habiti d’Huomeni et Donne venetiane, Venice 1610; Bibliothèque nationale de France, Paris).
Attributed works:
8. Detail of Fig.9, showing the coat of arms.
Attributed works:
9. The Most Honourable Sir William Paston, Baronet, by William Faithorne the Elder. 1659. Engraving, 27 by 20.5 cm. (British Museum, London).
Western art unattributed:
1. A Paston prospective: a country house with gardens. c.1640. Oil on canvas, 117 by 164 cm. (Private collection).
Article
The Ludovisi Tondo: a rediscovered sculpture by Jacopo della Quercia
01/2021 | 1414 | 163
Pages: 5-14
related names
Author:
Cova, Paolo (Cova, Paolo)
Subjects
dates:
places:
Illustrations
Attributed works:
1. The central courtyard of Rocchetta Mattei. 2019. The Ludovisi Tondo is above the doorway on the right. (Photograph G. Castellani).
Attributed works:
10. Detail of Original sin, by Jacopo della Quercia. 1425–28. Candoglia marble, 91 by 89 cm. (Porta Magna, S. Petronio, Bologna; photograph A. Ventura).
Attributed works:
11. Detail of Expulsion from the Garden of Eden, by Jacopo della Quercia. 1425–28. Candoglia marble, 91 by 89 cm. (Porta Magna, S. Petronio, Bologna; photograph A. Ventura).
Attributed works:
12. Detail of the Drunkenness of Noah, by Jacopo della Quercia. 1425–28. Candoglia marble, 91 by 89 cm. (Porta Magna, S. Petronio, Bologna; photograph A. Ventura).
Attributed works:
13. Detail of the Sacrifice of Isaac, by Jacopo della Quercia, showing Abraham and the angel. 1425–28. Candoglia marble, 91 by 97 cm. (Porta Magna, S. Petronio, Bologna; photograph A. Ventura).
Attributed works:
14. Detail of Fig.5, showing the horse’s legs.
Attributed works:
15. Detail of The flight into Egypt, by Jacopo della Quercia, showing the donkey’s legs. 1432–34. Candoglia marble, 71 by 100 cm. (Porta Magna, S. Petronio, Bologna; photograph A. Ventura).
Attributed works:
16. Detail of Fig.5, showing the horse’s muzzle.
Attributed works:
17–19. Detail of Fig.5, showing traces of polychromy on the armour; detail of Fig.19, showing painted decoration on the border of the Virgin’s cloak; and Virgin and Child, by Jacopo della Quercia. c.1430. Polychromed wood, height 178 cm. (Musée du Louvre, Paris).
Attributed works:
2. Corbels from the tomb of Giovanni da Legnano, by Jacobello and Pierpaolo Dalle Masegne. 1383. Istrian stone, left corbel 75 by 30 by 76 cm.; right corbel 75 by 30 by 76.5 cm. (Rocchetta Mattei; photograph G. Castellani).
Attributed works:
20. The murder of Buondelmonte Buondelmonti at Ponte Vecchio, by Pacino di Buonaguida. c.1340. Tempera on parchment. (From Nuova Cronica by Giovanni Villani, Biblioteca Apostolica Vaticana, Rome, MS L VIII 296).
Attributed works:
21. Detail of Fig.5, showing the armour.
Attributed works:
22. Detail of Virgin and Child with saints, by Jacopo della Quercia, showing St George. 1435–37. Marble, 102 by 98 cm. (Museo Civico Medievale, Bologna; photograph M. Berardi).
Attributed works:
23. Detail of the Horses of St Mark. 2nd or 3rd century AD. Gilt copper, 238 by 252 cm. (St Mark’s, Venice).
Attributed works:
24. Detail of Fig.5, showing the horse’s head.
Attributed works:
3. The central courtyard of Rocchetta Mattei. Photograph, c.1865. (Archivio A. Rapparini, Camugnano; photograph P. Poppi).
Attributed works:
4. The memorial to Niccolò and Giovanni Ludovisi, by Marcello Oretti. Pen and ink on paper. (Biblioteca Comunale dell’Archiginnasio, Bologna; MS B.114, c.261, fol.261).
Attributed works:
5. The Ludovisi Tondo, here attributed to Jacopo della Quercia. Here dated c.1428–32. Istrian stone, diameter 85 cm. (Rocchetta Mattei; photograph G. Castellani).
Attributed works:
6 and 7. Details of Fig.5 and Fig.9, showing the heads of Niccolò Ludovisi and Adam.
Attributed works:
8. Creation of Eve, by Jacopo della Quercia. 1425–28. Candoglia marble, 91 by 89 cm. (Porta Magna, S. Petronio, Bologna; photograph A. Ventura).
Attributed works:
9. Creation of Adam, by Jacopo della Quercia. 1425–28. Candoglia marble, 91 by 97 cm. (Porta Magna, S. Petronio, Bologna; photograph A. Ventura).
Article
The Nobili altarpiece from S. Maria degli Angeli, Florence
01/2020 | 1402 | 162
Pages: 14-25
related names
Author:
Gordon, Dillian (Gordon, Dillian)
Subjects
dates:
places:
Illustrations
Attributed works:
1. Hypothetical reconstruction of the Nobili altarpiece, S. Maria degli Angeli, Florence, by Agnolo Gaddi and Lorenzo Monaco. 1387–88. Tempera on wood. Reconstruction by the author with Rachel Billinge. Main tier: Virgin and Child enthroned with Sts John the Evangelist, John the Baptist, James and Bartholomew, each panel: 186 by 70 cm. (Gemäldegalerie, Berlin). Predella: left to right Bernardo di Cino Bartolini de’ Nobili and his sons (see Fig.6); Feast of Herod, Crucifixion and St James and the sorcerer Hermogenes, each panel 43 by 67 cm. (Musée du Louvre, Paris); Piera degli Albizzi and her daughters (see Fig.7). Pinnacles: Angel Gabriel; Blessing Redeemer; Annunciate Virgin, each panel 67.3 by 30.5 cm. (Collezione Fondazione Francesco Federico Cerruti, on permanent loan to Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino). Pilasters: Outer left side, top to bottom Deacon saint (see Fig.9); Mary Magdalene (see Fig.8); and Baptism of Christ (see Fig.3). Inner left side, top to bottom St Peter (see Fig.9); and St Benedict (see Fig.8). Inner right side St Paul (see Fig.9); and St Bernard (see Fig.8). Outer right side Bishop saint (see Fig.9); St Catherine (see Fig.8); and Hermogenes throwing books on sorcery into a river (see Fig.4).
Attributed works:
10. Virgin and Child with Sts Andrew, Benedict, Bernard, and Catherine of Alexandria with Angels, by Agnolo Gaddi. c.1387. Tempera on poplar panel, left panel 197 by 80 cm.; middle panel 204 by 80 cm.; right panel 194.6 by 80 cm. (National Gallery of Art, Washington).
Attributed works:
2. Nobili arms as granted to Bernardo di Cino by Charles V of France in 1379 (repr. R. Ciabani: Le famiglie di Firenze, Florence 1992, III, p.806).
Attributed works:
3. Baptism of Christ, by Lorenzo Monaco. 1387–88. Tempera on panel, 38.4 by 28.7cm. (National Gallery, London).
Attributed works:
4. Hermogenes throwing books on sorcery into a river, by Lorenzo Monaco. 1387–88. Tempera on panel, 30.00 by 21.6 cm. (Alana Collection, Newark DE).
Attributed works:
5. Detail of Fig.6.
Attributed works:
6. Bernardo di Cino Bartolini de’ Nobili and his sons, by Lorenzo Monaco. 1387–88. Tempera on wood, 38.1 by 28.9 cm. (Richard L. Feigen Collection, New York).
Attributed works:
7. Piera degli Albizzi and her daughters, by Lorenzo Monaco. 1387–88. Tempera on wood, 27.4 by 21.7 cm. (Alana Collection, Newark DE).
Attributed works:
8. St Mary Magdalene (73.5 by 19cm.); St Benedict (73.7 by 19.4 cm.); St Bernard of Clairvaux (73.7 by 20 cm.), by Agnolo Gaddi. St Catherine of Alexandria (73.6 by 19.4 cm.), by Agnolo Gaddi and Lorenzo Monaco. 1387. Tempera on wood; all now framed together as a single unit. (Clowes Collection, Indianapolis/Newfields Museum of Art).
Attributed works:
9. Bishop saint, St Peter, St Paul and Deacon saint, by Lorenzo Monaco. 1387–88. Now framed together as a single unit, 55.8 by 75 cm. (Gemäldegalerie, Berlin; formerly in Göttingen Universitätsmuseum).
Western art unattributed:
11. Charles V of France and his sons, the future Charles VI, and Louis d’Orléans, with Sts John the Baptist, Charlemagne and Louis of Toulouse; Eighteenth-century watercolour copy of parts of an embroidery once belonging to the duc de Berry. (Bibliothèque nationale de France, Département des Estampes et de la Photographie, Paris, Réserve, OA 13, fol.16, Gaignières 444).
Western art unattributed:
12. Queen Jeanne de Bourbon with two of her daughters and Sts Catherine and Louis of France. c.1374. Eighteenth-century watercolour copy of parts of an embroidery once belonging to the duc de Berry. (Bibliothèque nationale de France, Département des Estampes et de la Photographie, Paris, Réserve, OA 13, fol.17, Gaignières 445).
Article
Bicci di Lorenzo’s altarpiece for the Compagni family chapel in S. Trinita, Florence
01/2019 | 1390 | 161
Pages: 36-43
related names
Author:
Gordon, Dillian (Gordon, Dillian)
Subjects
dates:
media:
Illustrations
Attributed works:
1. Hypothetical reconstruction of the altarpiece for the Compagni chapel in S. Trinita, Florence, by Bicci di Lorenzo with the assistance of Stefano d’Antonio. Reconstruction by the author with the help of Rachel Billinge. Panels photographed by John Hammond. The main tier, roundels and pilasters are illustrated as Fig.2 and the predella panels as Figs.3, 4 and 9.
Attributed works:
2. Altarpiece of the Virgin and Child with Saints for the Compagni chapel in S. Trinita, Florence, by Bicci di Lorenzo, assisted by Stefano d’Antonio, 1434. Egg tempera on wood, 207 by 299.4 cm. (Westminster Abbey, London; WA 0045; © The Dean and Chapter of Westminster).
Attributed works:
3. St John Gualberto and the destruction of the Abbey of Moscheta, by Bicci di Lorenzo. 1434. Egg tempera on panel, 27.5 by 31 cm. (Private collection; courtesy the Salamon Gallery, Milan).
Attributed works:
4. The baptism of Christ, by Bicci di Lorenzo. 1434. Egg tempera on panel, 27.9 by 31 cm. (York Art Gallery; courtesy York Museums Trust).
Attributed works:
5. Detail of Fig.3, showing the head of St John Gualberto.
Attributed works:
6. Detail of Fig.4, showing the head of Christ.
Attributed works:
7. Detail of Fig.1, showing the pilaster figure of St Benedict. (Photograph by John Hammond; © The Dean and Chapter of Westminster)
Attributed works:
8. Detail of Fig.9, showing the Virgin and Child.
Attributed works:
9. Nativity and Adoration of the Shepherds, by Bicci di Lorenzo. 1434. Egg tempera on panel, 25.5 by 62 cm. (Private collection.)
Article
The Paston prospective
07/2018 | 1384 | 160
Pages: 536-544
related names
Author:
Jervis, Simon (Jervis, Simon; J., S.; J., S. S.)
Subjects
art literature:
collectors and dealers:
dates:
Illustrations
Attributed works:
10. Charles I, Henrietta Maria and Charles II when Prince of Wales, dining in public, by Gerrit Houckgeest. 1635. Panel, 63.2 by 92.4 cm. (The Royal Collection; © H.M. Queen Elizabeth II).
Attributed works:
2. Oxnead Hall, by John Adey Repton. c.1843. Pen and ink and watercolour, 19.5 by 29 cm. (Nicholas Poole-Wilson).
Attributed works:
5. Frontispiece of Le Jardin de la Noblesse Françoise, by Abraham Bosse. Etching, 14.7 by 9.3 cm. (British Museum, London).
Attributed works:
6. Hortvs Pembrochianvs (The garden of Wilton House, seen from the house), by Isaac de Caus. Etched c.1640, edition of 1654. Etching, 41.7 by 52.3 cm. (British Museum, London).
Attributed works:
7. Fountain formerly at Oxnead, by John Cleghorn after John Adey Repton. 1844. Wood engraving, 7.3 by 7.8 cm., from The Gentleman’s Magazine 21 (1844), p.21.
Attributed works:
8. A Garden and Princely Villa, for Coelum Britannicum, Scene 5, by Inigo Jones and/or Edward Pearce. 1634. Pen and brown ink over graphite, 43.7 by 56.5 cm. (The Trustees of the Chatsworth Settlement; Bridgeman Images).
Western art unattributed:
1. Detail of Fig.4.
Western art unattributed:
3. Detail of Fig.4 showing the escutcheon with the coat of arms of Paston and Hewitt impaled.
Western art unattributed:
4. The Paston prospective. c.1640. Canvas, 117 by 164 cm. (Private collection).
Western art unattributed:
9. Detail of Fig.4, showing figures here identified as William Paston and Margaret Hewitt.
Book Review
Die textilen Geschenke Papst Bonifaz’ VIII. (1294–1303) an die Kathedrale von Anagni: Päpstliche Paramente des späten Mittelalters als Medien der Repräsentation, Gaben und Erinnerungsträger. By Christiane Elster
07/2018 | 1384 | 160
Pages: 603-604
related names
Reviewer:
Monnas, Lisa (Monnas, Lisa)
Subjects
dates:
museums and institutions:
places:
Illustrations
Western art unattributed:
2. Detail of a cope given by Boniface VIII to Anagni Cathedral. Thirteenth century. Gold embroidery (opus cyprense) on red samite. (Museo della Cattedrale di Anagni).
Article
A set of silver-gilt waiters by Benjamin Pyne for the Courtenay family of Powderham Castle, Devon
06/2018 | 1383 | 160
Pages: 478-485
related names
Author:
Murdoch, Tessa (Murdoch, Tessa)
Subjects
media:
places:
Illustrations
Attributed works:
9. Salver, marked for Edward Farrell, London. 1824–25. Silver-gilt, width 25.5 cm. (Private collection).
Attributed works:
1. Waiter, one of a set of seven, marked for Benjamin Pyne, London. 1698–99. Silver-gilt, Britannia standard, width 21.7 cm. (Victoria and Albert Museum, London).
Attributed works:
10. Niche in the buffet servery linked to the dining room, Uppark, West Sussex. 1812–13. (Photograph National Trust).
Attributed works:
12. Design for a cartouche, Plate 18 from Raccolta di varii capricci, by Stefano della Bella. c.1646. Etching. (Victoria and Albert Museum, London).
Attributed works:
13. Sideboard dish, one of a pair, marked for Edward Farrell, London. 1824–25. Silver-gilt, diam. 38.1 cm. (The National Trust).
Attributed works:
2. Waiter, one of a set of seven, marked for Benjamin Pyne, London. 1698–99. Silver-gilt, Britannia standard, width 21.7 cm. (The Gilbert Collection, on long loan to the Victoria and Albert Museum, London).
Attributed works:
3. Waiter, one of a set of seven, marked for Benjamin Pyne, London. 1698–99. Silver-gilt, Britannia standard, width 21.7 cm. (State Historical Museum, Moscow).
Attributed works:
4. Waiter, one of a set of seven, marked for Benjamin Pyne, London. 1698–99. Silver-gilt, Britannia standard, width 21.7 cm. (Royal Ontario Museum, Toronto).
Attributed works:
5. Diverses figures a l’eau forte de petits amours [sic], by Abraham Bosse after Paolo Farinati. 1644. Etching, 12.8 by 16.2 cm. (British Museum, London).
Attributed works:
6. Plate 3 from A book of ornaments useful to Jewellers, Watchmakers and All Other Artists, by Simon Gribelin. London 1697. Engraving, 19.2 by 15.8 cm. (Victoria and Albert Museum, London).
Attributed works:
7. Design for a frieze, plate 12 from Ornamenti di Fregi et Fogliami, by Stefano della Bella. c.1648–49. Etching, 8.2 by 24.9 cm. (Victoria and Albert Museum, London).
Attributed works:
8. Detail of one of the Powderham waiters, showing maker’s mark for Benjamin Pyne, with Britannia standard mark, London hallmark and the date letter for 1698–99. (Victoria and Albert Museum, London).
Western art unattributed:
11. Trade card of Kensington Lewis. c.1822–27. Etching. (British Museum, London).
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