Virgin and Child with Saints and the Annunciation
Unknown, production, Italy, Tuscany, Siena, probably Siena
G.M. Richter on 12th July, 1931 said, 'Apparently a painter very near to Gentile da Fabriano.'
Prof. Enzo Carli of Siena Gallery on May, 1949, said it was late 14th century.
painting under glass
circa 1345 circa 1350
The frame was made in the fifteenth century and associated at an unknown date. What is almost certainly the original frame, dated 1347, is in the Museum of Fine Art, Cleveland, Ohio. (See Documentation)
mid 14th Century
Panel: Virgin and Child enthroned with four saints, with below, the Annunciation, painted, gilded, and silvered under glass, in an associated gessoed and gilt wood frame
Glass panel of tall and slender outline, with a Gothic arch at the top clipped around the edges. It is gilded, incised and painted in red, blue and green, probably using an oil medium, along the foliate border which frames the two scenes. The Enthroned Virgin and Child are flanked by four figures, two at either side. The Virgin’s throne is rather monumental, surmounted by a gable and two pinnacles. The Child is represented holding a small orb. A smaller Annunciation is decorated in a pseudo-predella at the bottom of the panel. The borders of the panel are ornate with swirls of foliage, alternatively painted in red and green. The wooden frame (A) has gesso additions and is painted and gilded. The frame is carved along the two long sides with foliate motifs. On the top, the frame is sculpted with the figures of God the Father directly above the Man of Sorrow, and flanked by the Annunciate Angel at the left and the Virgin at the right. At the bottom, the frame ends with a reverse triangle terminating with a decorated knob.
clipping; panel; round edge of panel
verre églomisé; decoration; The term églomisé derives from the name of an eighteenth century French picture restorer, Glomy, who revived the technique of applying gilding to glass for picture frames. See Documentation.
paint; decoration; red, green, blue
gold leaf; decoration
silver leaf; decoration
paint; frame; gold
Glass panel of tall and slender outline, with a Gothic arch at the top clipped around the edges. It is gilded, incised and painted in red, blue and green, probably using an oil medium, along the foliate border which frames the two scenes
, frame, 93, cm
height, central panel, 25.1, cm
width, central panel, 10.5, cm
bequeathed; 1904; McClean, Frank
Bequeathed by F. McClean
Dalton, Ormonde Maddock. 1912. Fitzwilliam Museum, McClean Bequest, Catalogue of the Medieval Ivories, Enamels, Jewellery, Gems, and Miscellaneous Objects bequeathed to the Museum by Frank McClean, M.A., F.R.S..Cambridge (Cambs.): Cambridge University Press
Publ. see no. 76
Toesca, Pietro. 1951. Il Trecento.Turin: Unione Tipografico-Editrice Torinese
Gordon, Dillian. 1972. The Gilded Glass Madonna in the Fitzwilliam.London?:
Unpublished. Held at the Courtauld Institute of Art.
Jaffé, Michael, Professor. 1986. Limitations of The Art Museum.Harvard:
Source Title: Studio International(March-1986)
p. pp. 3-15
Publ. Illustrated, pp. 3-15, on p. 7 and discussed pp. 7-8, in Studio International, March 1986
Dillon, Gordon. A Sienese Verre Eglomisé and its Setting.
Source Title: Burlington Magazine CXXIII (March-1981) : pp. 148-153
p. pp. 148-153
Publ. Illustrated and discussed, pp. 148-153, fig. 1 and fig. 19. The original frame was probably that now in the Cleveland Museum, Ohio, signed 'LUCAS ME FECIT' and dated 1347, a Sienese reliquary. The present frame is later, possibly 15th century. The iconographic sources of the subjects are discussed.
Swarzenski, Georg. 1940. The Localization of Medieval Verre Eglomisé.Baltimore:
Source Title: Journal of the Walters Art Gallery 3 (1940) : 58-62
p. pp. 55-68
Ref. pp. 55-68
Toesca, Pietro. Vetri Italiani a oro con graffiti.
Source Title: L'Arte 11 (1908) : 247-261
Publ. Mentioned briefly.
Object Number: M.56 & A-1904
(record id: 28233; input: 2001-05-04; modified: 2016-12-08)