Madonna van de nederigheid, Bartolommeo Bulgarini, c. 1353

Identification

Title(s)

Madonna van de nederigheid

Object type

painting

Object number

SK-A-4002

Inscriptions / marks

inscription: ‘DEUS IN A[D]IUTORIUM DOMIN[E] AD A[D]IUVANDUM’

Description

Madonna dell' Umiltà. Maria zittend op een kussen op de grond, de rechterarm om het staande Christuskind geslagen, een boek in de linkerhand. In de lucht serafijnen. Boven in het paneel een tondo met de buste van Christus, in profiel naar rechts. Waarschijnlijk een paneel van een tweeluik.

Creation

Artist

painter: Bartolommeo Bulgarini
painter: Meester van San Pietro in Ovile (rejected attribution)

Place

Siena

Dating

c. 1353

Material and Technique

Physical features

tempera on panel

Material

Measurements

height 57 cm × width 24.5 cm

Subject

What

Acquisition and rights

Acquisition

transferred 1960

Copyright

Public domain

Provenance

…; sale, Adolf von Beckerath (1834-1915, Berlin), Berlin (Rudolph Lepke), 23 May 1916 sqq., no. 295, as Bartolo di Fredi, to Prof. Dr Otto Lanz (1865-1935), Amsterdam;{Copy RMA.} his widow, Anna Theresia Elisabeth Lanz - Willi (1870 - 1954), Amsterdam, 1935; from whom, CHF 2,000,000 and fl. 350,000, with xx other paintings, to Hans Posse (1879-1942), for Adolf Hitler’s Führermuseum, Linz, through the mediation of the dealer N. Katz, 1941 (inv. no. 3230);{Van Os 1978, p. 167; the Linz inv. no. 3230 is recorded on a label on the reverse of the panel.} war recuperation, SNK, 20 October 1945 (inv. no. NK 2334);{Provenance from 1934 to 1945 reconstructed by Ekkart et al. 2006; MCCP website, file card no. 4516; the Munich Central Collecting Point number 4516 is recorded in blue on the Linz inv. no. label on the reverse of the panel.} on loan from the DRVK to the museum, 1952 (inv. no. SK-C-1428); transferred to the museum, 1960

Bibliography and list of abbreviations for the provenance (pdf)

Notes

Please note that this provenance was formulated with a special focus on provenance research for the years 1933-45 and could therefore be incomplete. There may be more (mostly earlier) provenance information known in the museum. In case this item has an uncertain or incomplete provenance for the years 1933-45, the Rijksmuseum welcomes information and assistance in the investigation and clarification of the provenance of all works during that era.

Relations

Documentation

The early Sienese paintings in Holland, Hendrik Willem van 1938- Os, p. 38, afb. 7, cat.nr. 5
Aan de oorsprong van de schilderkunst: vroege Italiaanse schilderijen in Nederlands bezit = The birth of panel painting : early Italian paintings in Dutch collections, Rik Vos
Alleen kijken naar de omtrekvorm van schilderijen, Wouter Theodoor Kloek, cat.nr. 13
Sienese paintings in Holland, Horst Karl 1907-1978 Gerson
Marias Demut und Verherrlichung in der sienesischen Malerei 1300-1450, Hendrik Willem van Os, p. 108, 113, 131, afb. 9
Painting in Florence and Siena after the Black Death, Millard 1904-1975 Meiss, p. 134
Italiaansche kunst in Nederlandsch bezit, Raimond van Marle, cat.nr. 192
I Lorenzetti, Giulia Sinibaldi, p. 182
Italian pictures of the Renaissance, Bernard, 1865-1959 Berenson, p. 41
The development of the Italian schools of painting, Raymond van Marle, dl. 2, p. 370, nt. 2
The Bernard and Mary Berenson collection of European paintings at I Tatti, Carl Brandon Strehlke
Sherwood A. Fehm, 'Notes on the exhibition fo Sienese paintings form Dutch collections', Burlington Magazine (1969), p. 5711-7.
H. Kiel, 'Aus der Arbeit der Museen : Florenz Instituto Universitario Olandese', Pantheon (1969) nr. 27, p. 337-338.
F. Russoli, The Berenson collection, Milaan 1934, nr. XVIII
E.T. Dewald, 'The master of the Ovile madonna', Art Studies (1929) nr. 7, p. 154.
E.T. Dewald, 'The master of the Ovile madonna', Art Studies (1923) nr. 1, p. 45.

Persistent URL

To refer to this object please use the following persistent URL: http://hdl.handle.net/10934/RM0001.COLLECT.9063

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