Beobachtete Verkäufe, Vergleichsnachweise, Künstlerindexhistorie und modellierte Forschung bleiben getrennt.
Öffentliche Verkäufe desselben Künstlers, geordnet nach Technik, Entstehungsjahr, Maßen und Aktualität des Verkaufs.
The Cleveland Museum of Art, Cleveland, Ohio
(Newhouse Galleries, New York, sold to the Cleveland Museum of Art)
Baron André Descamps, Brussels, possibly consigned to Newhouse Galleries
(Galerie Fievez, Brussels, sale, June 23-24, 1941, no. 232
(Galerie Georges Giroux, Brussels, Broerman sale, March 21, 1927, lot 24, as Giambattista Tiepolo)
Eugene Broerman [1860-1930], Brussels, consigned to Galerie Georges Giroux
Piccoli collection, Venice
The Cleveland Museum of Art, Cleveland, Ohio (Newhouse Galleries, New York, sold to the Cleveland Museum of Art) Baron André Descamps, Brussels, possibly consigned to Newhouse Galleries (Galerie Fievez, Brussels, sale, June 23-24, 1941, no. 232 (Galerie Georges Giroux, Brussels, Broerman sale, March 21, 1927, lot 24, as Giambattista Tiepolo) Eugene Broerman [1860-1930], Brussels, consigned to Galerie Georges Giroux Piccoli collection, Venice Possibly a palace chapel, Belluno, Italy
The Year in Review for 1982. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 5-February 6, 1983). The Allure of La Serenissima: Eighteenth-Century Venetian Art. Oklahoma City Museum of Art, Oklahoma City, OK (organizer) (September 9, 2010-January 2, 2011).
Master of the Holy Blood (Netherlandish) · 1515
Paolo Veronese (Italian, 1528–1588) · 1575
Claude Monet (French, 1840–1926) · 1868
Caterino Veneziano (Italian, active 1362–82) · 1375
Cui Zizhong (Chinese, 1574–1644) · 1644
A devout woman, shown at lower right, is presented by saints and an angel to the central Virgin and Child. In clockwise order from her is Saint Lucy, identified by the cauldron and sword at her feet; Saint Agnes, by the lamb; Saint Scholastica, by the dove she holds; and Saint Benedict, characterized by his crozier and Benedictine habit. Slightly below the central Madonna is Saint Veronica, whose head is covered. Behind Saint Veronica, Saint Anthony of Padua, wearing a Franciscan habit and holding a lily stalk, stands in a pose of adoration. Below Saint Anthony and next to the woman is an angel. The identity of the woman is uncertain, but she may be the painting's patron. Pittoni uses dramatic gestures and elegant drapery, while the soft treatment of light and rich colors reflect Pittoni's study of French Rococo art during his stay in France in 1720. In the crowded composition, Pittoni has emphasized the importance of the religious event. His experimentation with composition is evident in the legs of Saint Agnes's lamb; as the painting has aged, a third front leg that Pittoni had painted over has become visible.
Beobachtete Verkäufe: 0 · Vergleichsverkäufe: 0 · Provenienz: 8 · Ausstellungen: 2.