The Adoration of the Christ Child

c. 1490

Vincenzo Frediani (Italian, 1485–1505)

Status: On View, Gallery 204
Department: Painting and Sculpture of Europe

Artist: Vincenzo Frediani
Title: The Adoration of the Christ Child
Place: Florence (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1485–1495
Medium: Tempera on panel
Dimensions: 52 × 47.2 cm (20 1/2 × 18 9/16 in.); Framed: 70.5 × 68.6 × 12.1 cm (27 3/4 × 27 × 4 3/4 in.)
Credit Line: Max and Leola Epstein Collection
Reference Number: 1954.289
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/80537/manifest.json

R. Radcliffe Carter, Pictures and Engravings at Haughton Hall, Tarporley, in the Possession of Ralph Brocklebank (London, 1904), pp. viii, 12, no. 9, ill.
Art Prices Current: 1921–1922 (London, 1922), p. 435.
Old Masters in the Collection of Max Epstein (Chicago, 1928), ill. n. pag.
Alfred Scharf, Filippino Lippi (Vienna, 1935), p. 114, no. 93, fig. 210.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 261.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 131, 352, 571.
Massimo Ferretti, “Percorso lucchese,” Annali della Scuola Normale Superiore di Pisa: Classe di lettere e filosofia, ser. 3, 5 (1975), pp. 1041 n. 15, 1042 n. 17.
Everett Fahy, Some Followers of Domenico Ghirlandajo (New York and London, 1976), p. 177.
Mauro Natale, “Note sulla pittura lucchese alle fine del Quattrocento,” The J. Paul Getty Museum Journal 8 (1980), p. 55, fig. 37.
C. Baracchini and M. T. Filieri, “Pittori a Lucca tra ´400 e ´500,” Annali della Scuola Normale Superiore di Pisa: Classe di lettere e filosofia, ser. 3, 16 (1986), pp. 752, 755, pl. XXXIV, 1.
Massimo Ferretti, “Vincenzo Frediani,” in Colección Cambó, exh. cat. (Barcelona, Fundación Caja de Barcelona, 1991), pp. 266, ill., 268–69.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 95–98, ill.
Everett Fahy, Dipinti, disegni, miniature, stampe, L’Archivio Storico Fotografico di Stefano Bardini (Florence, 2000), pp. 48–49, 249, no. 419, ill.
Maurizia Tazartes, Fucina lucchese: Maestri, botteghe, mercanti in una città del Quattrocento (Pisa, 2007), p. 66, fig. 56.

Lucca, Museo Nazionale di Villa Guinigi, “Matteo Civitali e il suo Tempo,” April 3–July 11, 2004, no. 4.25.

Counts Sardini, Lucca [according to Carter 1904]; sold to Charles Fairfax Murray, London [according to Carter 1904]. Ralph Brocklebank, Haughton Hall, Tarporley, Cheshire, 1897–1922 [according to Carter 1904, Brocklebank purchased the painting in 1897]; sold Christie’s, London, July 7, 1922, no. 93, as Filippo Lippi, The Madonna Adoring the Infant Saviour, to Visman for ₤39 18s [price and buyer according to Art Prices Current, 1921–1922, p. 435]. Max Epstein (died 1954), Chicago, by 1926 [according to registrar’s records]; on loan to the Art Institute, 1926; bequeathed to the Art Institute, 1954.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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