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Lot Essay
We are grateful to Everett Fahy for proposing the attribution on the basis of a transparency. Antonio da Crevalcore is a somewhat mysterious Emilian artist by whom there is only one securely attributed work, a Holy Family, signed and dated 1493, formerly in the Kaiser Friedrich Museum, Berlin, but destroyed immediately after the Second World War. Fahy compares the physiognomies, especially the Christ Child and the Baptist, to three large canvases of the Madonna and Child Enthroned, Saint Peter, and Saint Paul from the Château d'Entrepy, Marne, sold at Sotheby's, Monaco, 5 March 1984, lot 1021, which were the basis for Vittorio Sgarbi's monograph Antonio de Crevalcore e la pittura ferrarese del Quattrocento a Bologna, Milan, 1985.
George Augustus Frederick Cavendish-Bentinck, M.P., served as Parliamentary Secretary of the Board of Trade in 1874-5 and Judge Advocate General in 1875-80 under Disraeli, who never forgot his early debt to the Portland family. Both in the early 1870s and after Gladstone's return to office in 1880, Cavendish-Bentinck travelled throughout Europe and he had a particular passion for Venice and Venetian art, both of the Renaissance and of the Settecento. While some of his pictures were purchased from major British collections, Cavendish-Bentinck also made extensive purchases in Italy as the 1891 sale catalogue attests. Thus in Padua he bought from Counts Lazzaro and Giustiniani Cavelli, and in Venice from dealers and patricians alike, Guggenheim (1871 and 1874), Antonio Ca[o?]rrer (in 1874), Richetti (1874), Barbini (by 1874), Antonio Zen (1880), Marcato (1881), as well as the Albrizzi, Manfrin and Morosini families.
George Augustus Frederick Cavendish-Bentinck, M.P., served as Parliamentary Secretary of the Board of Trade in 1874-5 and Judge Advocate General in 1875-80 under Disraeli, who never forgot his early debt to the Portland family. Both in the early 1870s and after Gladstone's return to office in 1880, Cavendish-Bentinck travelled throughout Europe and he had a particular passion for Venice and Venetian art, both of the Renaissance and of the Settecento. While some of his pictures were purchased from major British collections, Cavendish-Bentinck also made extensive purchases in Italy as the 1891 sale catalogue attests. Thus in Padua he bought from Counts Lazzaro and Giustiniani Cavelli, and in Venice from dealers and patricians alike, Guggenheim (1871 and 1874), Antonio Ca[o?]rrer (in 1874), Richetti (1874), Barbini (by 1874), Antonio Zen (1880), Marcato (1881), as well as the Albrizzi, Manfrin and Morosini families.