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Madonna and Child (c. 1485)
Madonna and Child (c. 1485)
Public Domain
Artist
Giovanni Bellini
Artist Dates
c. 1430/1435-1516
Artist Nationality
Italian
Title
Madonna and Child
Date
c. 1485
Medium
oil on canvas, transferred from panel
Dimensions
72.5 x 55.4 cm (28-1/2 x 21-7/8 in)
K Number
K1905
Repository
Nelson-Atkins Museum of Art
Accession Number
F61-66

Provenance

Possibly Conte di Collalto, Castello di Collalto; [1] Conde de Montija, Madrid; (sale Hôtel Drouot, Paris,7-9 April 1870, no. 12); [2] Otto Mündler [1811-1870] for Peter II, Grand Duke of Oldenburg [1827–1900], Augusteum, Oldenburg; Friedrich August, Grand Duke of Oldenburg [1852–1931]; bought by Monsig for (Frederick Muller & Co., Amsterdam ) in April 1923; bought by Frederick Schmidt-Degener for (Duveen Brothers, Inc.) on 30 April 1923; [3] Mr. and Mrs. Nicholas F. Brady, Manhasset, New York, as of 1927; Mrs. Nicholas F. Brady [after 1937, Mrs. William J. Babington Macaulay]; sold 1939 by her widower to (Duveen Brothers, Inc.); [4] bought by (Acquavella Galleries, New York); [5] bought by the Samuel H. Kress Foundation 8 February 1952; gift 1961 to the Nelson-Atkins Museum of Art, Kansas City, no. F61-66. [1] According to Fritz Heinemann, Giovanni Bellini e i belliniani, Venice,1962, vol. I, p. 13, and repeated in Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection, Italian Schools XV-XVI Centuries, New York,1968, p. 43. It has been impossible to document this part of the picture’s provenance. For instance, no painting of this description appears in any di Collalto inventories published in C.A. Levi, Le collezioni veneziane d’arte e d’antichità dal secolo XIV ai nostri giorni, Venice 1900, II, p.172. If Heinemann’s information is correct, the castle he mentions presumably refers to the Castello di San Salvatore at Susegana, near Conegliano, where several Venetian paintings are recorded earlier in this century. [2] The consignor’s name is given on the title page as “Villesante de Montija.” [3] Julius Böhler is included in the provenance according to Heinemann 1962, and repeated in Shapley 1968 [See note 1]. However, no such painting is listed in the Böhler stock books, photocopies in the Getty Research Institute. According to a cable dated 3 April 1923, Böhler never bought the painting. See Duveen Brothers Records, Box 270 folder 10, accession number 960015, The Getty Research Institute, Los Angeles. [4] See the letter of 13 November 1939 from Duveen to Macaulay, Box 529, Duveen Brothers Records, accession number 960015, The Getty Research Institute, Los Angeles. [5] Acquavella Galleries, New York, letter of November 7, 1988, the Nelson-Atkins Museum of Art, Kansas City curatorial files.