A group of Madonnas by Carpaccio and Bartolomeo Veneto
See respectively Sotheby’s, New York, 29 January 2016,
lot 427; Sotheby’s, New York, 30 January 2019, lot 6;
Sotheby’s, London, 26 April 2007, lot 68; Sotheby’s,
London, 4 July 2019, lot 123. I am most grateful to
Mauro Lucco for discussing the attributions of these
Madonnas with me.
2. Although listed with an attribution to Carpaccio by
Bernard Berenson, Italian Pictures of the Renaissance:
Venetian School (London: Phaidon, 1957), p. 59, the
attribution was doubted by Guido Perocco, Tutta la
Pittura del Carpaccio (Milan: Rizzoli, 1960), p. 84; by Jan
Lauts, Carpaccio (London: Phaidon, 1962), p. 264; and
by Michelangelo Muraro, Carpaccio (Florence: Edizioni
d’arte Il Fiorino, 1966), p. 98. More recently it was
rightly upheld by Vittorio Sgarbi and Giuseppe Pinna,
Carpaccio (Milano: Fabbri, 1994), p. 234.
3. As proposed by Sgarbi and Pinna, Carpaccio, p. 234.
4. Andrea Bellieni, “Una Madonna col Bambino del
giovane Carpaccio dai depositi del Museo Correr,”
Bollettino dei Musei Civici Veneziani 7 (2012): pp. 58-59.
5. In this connection it is also worth noting the similarity
of the decoration of the Virgin’s neckline with that of
Saint Martin in Carpaccio’s Zara polyptych (Zadar,
Museum of Sacred Art), datable on circumstantial
evidence to ca. 1487-1493.
6. For the former (NG1872), see John Steer, Alvise
Vivarini (Cambridge: Cambridge University Press,
1982), p. 141, with a convincing dating to ca. 1483.
The latter (L1158), an unusually large and imposing
Madonna picture on long-term loan to the Gallery, is
unpublished, but may be likewise dated to the first half
of the 1480s.
7. Berenson, Italian Pictures, p. 95; Fritz Heinemann,
Giovanni Bellini e i Belliniani, (Venice: Neri Pozza, 1962),
p. 112; Burton Fredericksen and Federico Zeri, Census
of Pre-Nineteenth-Century Italian Paintings in North American
Public Collections (Cambridge, MA: Harvard University
Press, 1972), p. 103.
8. For these two altarpieces, see Francesco Rossi in I Pittori
Bergamaschi: Il Quattrocento (Bergamo: Poligrafiche Bolis,
1994), pp. 135, 133.
9. Another work that may be attributed to the unknown
“Master of the Fogg Madonna” is a painting formerly
with Böhler and then with Scheidewimmer in Munich,
published by Heinemann, Giovanni Bellini, p. 290 and
fig. 452, with an unconvincing attribution to Marco
Basaiti. Although the figure of the Child differs from
that in the present group, that of the Virgin is very
similar, and the work repeats the motifs of the arched
window and the bird. The motif of the Child clutching
a bird in his hand recurs in several Madonna pictures
by close followers of Alvise, such as that by Giovanni
Martini da Udine in the Museo Correr.
10. See Laura Pagnotta, Bartolomeo Veneto. L’Opera Completa
(Florence: Centro Di, 1997), nos. 1-5.
11. See Mauro Minardi in The Alana Collection, II: Italian
Paintings and Sculptures from the Fourteenth to the Sixteenth
Century, ed. Miklós Boskovits (Florence: Centro Di,
2011), pp. 64-70.
12. Pagnotta, Bartolomeo Veneto, no. 2.
13. As kindly pointed out to me by Georgina Eliot.
14. Catalogued as Cima by Luigi Coletti, Cima da Conegliano
(Venice: Neri Pozza, 1959), p. 74; attribution rejected,
but with no alternative name advanced, by Peter
Humfrey, Cima da Conegliano (Cambridge: Cambridge
University Press, 1983), p. 193-194. As mentioned
above, in the sale catalogue of 2007 it was correctly
but generically attributed to an unknown “Follower of
Giovanni Bellini”.
A group of Madonnas by Carpaccio and Bartolomeo Veneto


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