Pasqualino Veneziano (Venice, active 1490 - before 1504)
Pasqualino Veneziano (Venice, active 1490 - before 1504)

The Madonna and Child

Pasqualino Veneziano (Venice, active 1490 - before 1504)
The Madonna and Child
signed with initials 'P.V.P.' (lower center)
oil and tempera on panel, transferred to another panel
31¼ x 24½ in. (79.5 x 62.2 cm.)

Heinrich Vieweg, Braunschweig; sale, R. Lepke, Berlin, 18 March 1930.
with Jacques Goudstikker, Amsterdam, 1930; inv. 2542.
Looted by the Nazi authorities, July 1940.
Recovered by the Allies, 1945.
In the custody of the Dutch Government.
Restituted in February 2006 to the heir of Jacques Goudstikker.
F. Harck, 'Quadri di maestri italiani nelle gallerie private di Germania', Archivio Storico dell'Arte, 3, 1890, p. 172.
R. van Marle, 'La pittura all'esposizione d'arte antica italiana di Amsterdam', Bolletino d'Arte, 28, 1934-1935, pp. 390-391.
B. Berenson, Italian pictures of the Renaissance: A list of the principal artists and their works with an index of places, Venetian School, London, 1957, I, p. 140.
R. Pallucchini, 'Giunte al catalogo di Pasqualino', Arte Veneta, 11, 1957, p. 199.
Bonnefantenmuseum, Catalogus van schilderijen en beeldhouwwerken, Maastricht, 1958, pp. 47-48.
F. Heinemann, Giovanni Bellini e i Belliniani, Venice, 1959, p. 16. L. Puppi. 'Per Pasqualino Veneto', Critica d'Arte, 8, 1961, pp. 36-38, fig. 3.
G. Bottari, Tutta la pittura di Giovanni Bellini, Milan, 1963, I, pp. 44-5.
F. Rusk Shapley, Paintings from the Samuel H. Kress Collection. Italian Schools XV-XVI Century, New York, 1968, p. 44.
J.R.J. van Asperen, et al. eds., The Early Venetian paintings in Holland, Maarssen, 1978, no. 29, figs. 68-71.
R. Pallucchini, 'Un'altra aggiunta a Pasqualino Veneto', Storia dell'Arte, 38-40, 1980, p. 215.
C. Wright, Paintings in Dutch museums, Amsterdam, 1980, p. 360.
F. Heinemann, Giovanni Bellini e i Belliniani, III, Hildesheim, 1991, no. 49a.
Old Master Paintings: An illustrated summary catalogue, Rijksdienst Beeldende Kunst (The Netherlandish Office for the Fine Arts), The Hague, 1992, p. 237, no. 2043.
C.E. de Jong-Janssen in D.H. van Wegen, Catalogue of the Italian Paintings in the Bonnefantenmuseum, Maastricht, 1995, p. 177, pl. 87; and pp. 108-109, fig. 51, pl. 7.
E. Rowlands, The Collections of the Nelson-Atkins Museum of Art, Italian Paintings 1300 - 1800, pp. 120-121, fig. 13e.
Amsterdam, Catalogue des Nouvelles Acquisitions de la Collection Goudstikker, no. 38, April-May 1930, no. 43.
Amsterdam, Stedelijk Museum, Italiaansche kunst in Nederlandsch bezit, July-October 1934, no. 283.
Maastricht, Bonnefantenmuseum, on loan from the Instituut Collectie Nederland, Amsterdam, inv. NK 1527.
Greenwich, The Bruce Museum, and New York, The Jewish Museum, Reclaimed: Paintings from the Collection
of Jacques Goudstikker, 10 May-7 September 2008 and 12 March-2 August 2009, no. 2 (catalogue entry by P. Sutton).

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Lot Essay

Pasqualino's work is clearly influenced, in both style and composition, by that of Cima da Conegliano, and he probably formed part of Cima's flourishing workshop in Venice during the 1490s. The present work, however, is unusual in that it is based on a popular composition by Giovanni Bellini from the 1480s or 1490s.

Pasqualino emerged from Cima's studio by the turn of the century, and had achieved a sufficient reputation in his own right to be given the important commission to decorate the main wall of the albergo of the Scuola della Carità in Venice in 1504. Before he was able to commence painting, he died suddenly the same year, cutting short a promising career. The commission for the albergo later passed to Titian.

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