About This Artwork

Italian, Venice

Bishop Saint from an Augustinian altarpiece, 1450/75

Tempera and oil on panel
Panel: 126.2 x 30 cm (49 5/8 x 11 13/16 in.); Painted Surface: 119 x 25.5 cm (46 7/8 x 10 in.)

George F. Harding Collection, 1984.24e

Exhibition, Publication and Ownership Histories

Publication History

American Art Sales, 6, 6 (Washington, D.C., 1926), p. 18, no. 59.

Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), pp. 29, 637.

L. Serra, “Antonio da Fabriano,” Bollettino d’Arte 26, 1 (1933), pp. 374, 377, ill.

Raimond van Marle, The Development of the Italian Schools of Painting, vol. 15 (The Hague, 1934), p. 605.

George Kaftal, Saints in Italian Art: Iconography of the Saints in Central and South Italian Schools of Painting (Florence, 1965), no. 265a.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 246, 307, 572.

Anna Tambini, “Ricerche in Romagna: il Maestro di San Pier Damiano,” Paragone 31, 367 (September 1980), p. 53.

Sotheby’s, New York, Important Old Master Paintings, sale cat. (Sotheby’s, January 17, 1985), under lot 32.

Walter Angelelli and Andrea G. de Marchi, Pittura dal Duecento al primo Cinquecento nelle fotografie di Girolamo Bombelli (Milan, 1991), p. 207, no. 408, fig. 408b.

Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 274–278, ill.

Carl Brandon Strehlke, review of Christopher Lloyd, “Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection,” Burlington Magazine 136 (1994), p. 626.

Andrea De Marchi, “Centralità di Padova: Alcuni esempi di interferenza tra scultura e pittura nell’area adriatica alla metà del Quattrocento,” in Charles Dempsey, ed., Quattrocento Adriatico: Fifteenth-Century Art of the Adriatic Rim (Bologna, 1996), pp. 62–63 n. 26.

Federico Zeri, “Anonimo padovano,” in Federico Zeri and Andrea G. De Marchi, Dipinit: La Spezia, Museo civico Amedeo Lia (Milan and La Spezia, 1997), pp. 386–87, under no. 181.

Mauro Minardi, “Sulle tracce di Ansuino da Forlì,” Arte Cristiana 86, 785 (1998), pp. 97–98, 100–01, 108 n. 33, 109 n. 38–39, 110 n. 44, 54, fig. 2.

Andrea De Marchi, “Problemi aperti su Squarcione pittore e sui romagnoli a Padova,” in Francesco Squarcione: “Pictorum symnasiarcha singularis” (Padua, 1999), pp. 124–25 n. 38–40, 126, figs. 98–99.

Anna Tambini, “Maestro di San Pier Damiano (Guglielmo di Guido del Peruccino?,” in Nadia Ceroni, Pinacoteca comunale di Ravenna: Museo d’arte della città (Ravenna, 2001), p. 32.

Cristina Bragaglia, in Valentino Pace and Roberto Tollo, San Nicola da Tolentino nell’arte: Corpus iconografico, vol. 1 (Tolentino, 2005), pp. 288–89, no. 107.

Simone Facchinetti, Mantegna e il Rinascimento in Valpadana (Florence, 2007), p. 96.

Stefano Tumidei, “Romagnoli in Veneto: congiunture figurative e viaggi d’artisti tra Quattro e Cinquecentro,” in La pittura emiliana nel Veneto (Verona and Modena, 1999), pp. 65, 84 n. 18.

Anna Tambini, Storia delle arti figurative a Faenza, vol. 3 (Faenza, 2009), pp. 20–23, 80–81 n. 7–8, figs. 14a, b.

Alice Turchi, “In Maestro di San Pier Damiano: profilo di un pittore faentino del primo Quattrocento,” Arte Cristiana 97, 850 (2009), pp. 14, 18 n. 45.

Mauro Minardi, “Studi sulla collezione Nevin: i dipinti veneti del XIV e XV secolo,” Saggie e memorie di storia dell’arte 36 (2012), pp. 332–35, 347 n. 103–05, 348 n. 111, figs. 33, 37.

Ownership History

Robert Jenkins Nevin (died 1906), Rome, by 1906; his estate sale, Galleria Sangiorgi, Rome, April 22, 1907, no. 41, as school of Vivarini, with 1984.24a–d, f–g to Frascione, Florence [according to a letter from F. Mason Perkins to Bernard Berenson dated November 15, 1907, Biblioteca Berenson, Villa I Tatti, Fiesole, copy in curatorial file]; probably sold to Achille Chiesa (died 1921), Milan; his son Achillito Chiesa, Milan, by 1926; his sale, American Art Association, New York, pt. 2, April 16, 1926, no. 59, as Workshop of the Vivarini, for $6,300 to Clapp & Graham, with 1984.24a–d, f–g [price and buyer according to American Art Sales 1925]; Kaftal 1965 states that it was on the Milan market in 1930, but an annotated photograph in the Fototeca I Tatti, under Antonio da Fabriano states the polyptych was with the Florentine dealer Luigi Albrighi in 1930 [see Kaftal 1965 and the annotated photograph, Villa I Tatti, Fiesole, copy in curatorial file]; possibly Dan Fellows Platt, Englewood, New Jersey, by 1932, as Antonio da Fabriano [according to Berenson 1932, but the annotated photograph at I Tatti cited above lists Platt but adds in parenthesis “Perkins says no”]. George F. Harding, Jr. (died 1939), Chicago; bequeathed to The George F. Harding Museum, Chicago; offered for sale along with 1984.24a–d, f–g, Sotheby’s, New York, December 2, 1976, no. 180, withdrawn; transferred to the Art Institute, 1984.




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