PROPERTY FROM THE COLLECTION OF JACQUES GOUDSTIKKER

The Master of the Liverpool Madonna active in Rome and Umbria in the late 15th and early 16th century

The Mystic Marriage of Saint Catherine of Alexandria, with Saint John the Baptist

細節

The Master of the Liverpool Madonna active in Rome and Umbria in the late 15th and early 16th century
The Mystic Marriage of Saint Catherine of Alexandria, with Saint John the Baptist
tempera and gold on panel
21 3/8 x 15¼ in. 54.3 x 38.7 cm.

來源

Baron Heinrich von Tucher, Vienna and possibly Munich.
Baron Heinrich von Tucher; P. Cassirer & H. Helbing, Berlin, 8 December 1925, lot 62, as 'Perugian' (to Ludolf & Edith Rosenheim, Berlin).
Anonymous sale; Frederik Muller, Amsterdam, 9 December 1930, lot 16, as 'Maître de Perouse XVIe siècle'.
with Jacques Goudstikker, Amsterdam.
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.

出版

R. van Marle, The Development of the Italian schools of painting, VI, The Hague, 1934, p. 267, fig. 163.
R. van Marle, 'La pittura all'esposizione d'arte antica italiana di Amsterdam', Bolletino d'Arte, 28, 1934/5, pp. 457-8, note 15.
G.S. Hedberg, Antoniazzo Romano and his school, Ann Arbor, 1980, I, p. 247; II, fig. 154.
Wright, Paintings in Dutch Museums, Amsterdam, 1980, p. 9.
S. Alexandsrescu et al eds., Hemel en aarde - Werelden van verbeelding, Bonnefantenmuseum, Maastricht/Amsterdam, 1991, pp. 217-8, fig. 112.
Old Master Paintings: An illustrated summary catalogue, Rijksdienst Beeldende Kunst (The Netherlandish Office for the Fine Arts), The Hague, 1992, p. 25, no. 45, illustrated (as 'Antoniazzo Romano').
C.E. de Jong-Janssen in D.H. van Wengen, Catalogue of the Italian paintings in the Bonnefantenmuseum, Maastricht, 1995, pp. 16-7, fig. 2, pp. 173, 176, pl. 89.

展覽

Amsterdam, Stedelijk Museum, Italiaansche kunst in Nederlandsch bezit, July-October 1934, no. 9.
Maastricht, Bonnefantenmuseum, on loan.

拍品專文

The present painting has been attributed by Hedberg to the Master of the Liverpool Madonna, circa 1485-90, the anonymous author of a group of works painted in the style of the Umbrian-Roman school. Because these paintings betray Antoniazzo's influence, it is believed that the Master received his training in Antoniazzo's workshop. The present composition is derived from Antoniazzo's Gaetani Triptych in San Pietro at Fondi, and in particular, the Madonna and Child are a direct quotation.