Genoese School, 15th Century
Madonna and Child, with two angels,
tempera and oil on canvas laid down on panel, 72.5 x 47 cm, framed
Provenance:
Private collection, Berlin
The present painting bears a coat-of-arms on the lower right: an Italian-style horse-head escutcheon with a standing lion before a red and silver striped background. On top of the coat-of-arms a dragon biting its tail is depicted, mounted by a cross. This may suggest the paintings owner or commission was by a member of the Dragon Order, a Catholic noble order founded circa 1408. The type of escutcheon in this painting, is a special shield-form of heraldry and is found almost exclusively in Italy, especially during the 15th century.
Technical analysis:
Three kinds of underdrawing can be noticed in IR images: two outline drawings, a thin black one, sometimes superficial, and a larger one, deeper one, made also with a thin brush, showing a hatched drawing, to build the shadows such as in the Madonna’s head.
We are grateful to Gianluca Poldi for the technical examination of the present painting.
View it on
Sale price
Estimate
Time, Location
Auction House
Madonna and Child, with two angels,
tempera and oil on canvas laid down on panel, 72.5 x 47 cm, framed
Provenance:
Private collection, Berlin
The present painting bears a coat-of-arms on the lower right: an Italian-style horse-head escutcheon with a standing lion before a red and silver striped background. On top of the coat-of-arms a dragon biting its tail is depicted, mounted by a cross. This may suggest the paintings owner or commission was by a member of the Dragon Order, a Catholic noble order founded circa 1408. The type of escutcheon in this painting, is a special shield-form of heraldry and is found almost exclusively in Italy, especially during the 15th century.
Technical analysis:
Three kinds of underdrawing can be noticed in IR images: two outline drawings, a thin black one, sometimes superficial, and a larger one, deeper one, made also with a thin brush, showing a hatched drawing, to build the shadows such as in the Madonna’s head.
We are grateful to Gianluca Poldi for the technical examination of the present painting.