Childbirth tray (desco da parto): The Triumph of Chastity (recto); Naked Boys with Poppy Pods (verso)

Images(2)

Childbirth tray (desco da parto): The Triumph of Chastity (recto); Naked Boys with Poppy Pods (verso)

Artist Apollonio di Giovanni di Tomaso b. 1415/1417, Florence; d. 1465, Florence

Artist Marco del Buono di Marco b, 1402, Florence; d. 1489, Florence

Datecirca 1450–1460

MediumTempera and gold leaf on panel

Dimensions23 x 23 1/4 in. (58.4 x 59.1 cm)
Frame: 26 x 26 1/4 x 4 in. (66 x 66.7 x 10.2 cm)

ClassificationsPaintings

Credit LineGift of the Samuel H. Kress Foundation

Object numberGL.60.17.23/a-b

On View

On view

Provenance[Possibly Rev. Walter Davenport Bromley collection; sold Christie, Manson & Woods, London, June [12-]13, 1863: no. 152 "A. Pollaiuolo. A Triumph, with female captives. From the Capponi Palace, Florence, in its original frame, with the arms of the family, " bought by Lord Ashburton (Bath House, according to Getty annotated copy] Collection of Dante Gabriel Rossetti, London; sold, T. G. Wharton, Martin & Co., London [Chelsea], Auction Catalogue of the Household & Decorative Furniture for Dante G. Rossetti, deceased, July 15, 1882 [cat. no. 319, p. 18]; Count Alessandro Contini Bonacossi, Florence; Samuel H. Kress Foundation, New York, 1937; gift of the Samuel H. Kress Foundation to the NCMA, 1961.
Published ReferencesAuction Catalogue of the Household & Decorative Furniture for Dante G. Rossetti, deceased (Chelsea, London, July 15, 1882), cat. no. 319.

Preliminary Catalogue of Paintings and Sculpture (Washington, DC: National Gallery of Art, 1941), cat. K491.

The Samuel H. Kress Collection (Raleigh: North Carolina Museum of Art, 1960), 56 (as by Master of the Jarves Cassoni), illus. (b-w) 57.

"Picture of the Month," North Carolina Museum of Art Calendar of Art Events 4, no. 9 (May 1961), discussed and illus. (b-w) unnumbered page.

"Raleigh (North Carolina): La Collezione Kress di Opera Della Rinascenza Italiana al North Carolina Museum," Emporium 134, no. 802 (October 1961), 174, illus.

Bernard Berenson, Italian Pictures of the Renaissance, Vol. 1, Florentine School (London: The Phaidon Press, 1963), 18.

"Acquisitions," North Carolina Museum of Art Bulletin 4, nos. 2 & 3 (Winter-Spring, 1964), listed 56 (as by Master of the Jarves Cassoni).

F. R. Shapley, Paintings of the Samuel H. Kress Collection, Italian Schools XIII-XV Century, Vol. 1 (London: The Phaidon Press, 1966), 98, illus figs. 263, 265.

Ellen Callmann, Apollonio di Giovanni (Oxford: The Clarendon Press, 1974), cat. no. 16, pp. 14, 36, 59, 60, illus. pl. 110.

Ellen Callman, Beyond Nobility: Art for the Private Citizen in the Early Renaissance (exhibition catalogue) (Allentown, PA: Allentown Art Museum, 1980), cat. no. 4, illus.

Ellis Waterhouse, "Holman Hunt's 'Giovanni Bellini' and the Pre-Raphaelites' own early Italian pictures," The Burlington Magazine 123, no. 941 (August 1981), 474, illus. 475, fig. 19.

Edgar Peters Bowron, ed., Introduction to the Collections (Chapel Hill: published for the North Carolina Museum of Art, Raleigh, by The University of North Carolina Press, 1983), illus. (b-w) 179.

Keith Christiansen, "Lorenzo Lotto and the Tradition of the Epithalamic Paintings," Apollo 124, no. 295 (September 1986), 170, illus. 171, fig. 8.

Ellen Callmann, "Apollonio di Giovanni and Painting for the Early Renaissance Room" Antichità viva 27, 3-4 (1988), 11, illus. 17-18.

Introduction to the Collections, rev. ed. (Raleigh: North Carolina Museum of Art, 1992), illus. (b-w) 168.

David Steel, entry for The Triumph of Chastity, in North Carolina Museum of Art: Handbook of the Collections, Rebecca Martin Nagy, ed. (Raleigh: North Carolina Museum of Art, 1998), 124, illus. (color).

Jacqueline Marie Musacchio, The Art and Ritual of Childbirth in Renaissance Italy (New Haven and London: Yale University Press, 1999), recto, 55, illus.; verso, 130, illus. 131.

Sonia Cavicchioli, The Tale of Cupid and Psyche: An Illustrated History (New York: Published by George Braziller for Ultreya, Milan, 2002), briefly discussed 65, illus. (b-w) 78.

Carl Brandon Strehlke, Italian Paintings: 1250-1450 (Philadelphia: Philadelphia Museum of Art, 2004), verso illus. (b-w) 64.

Beauty & Duty: The Art and Business of Renaissance Marriage (exhibition catalogue) (Brunswick, ME: Bowdoin College Museum of Art, 2008), cat. no 8, listed 50, discussed 30, recto and verso illus. (color) 31, figs. 12 and 13.

Elizabeth L'Estrange, Holy Motherhood (Manchester and New York: Manchester University Press, 2008), discussed 90-91, illus. (b-w) 92, fig. 16; verso illus. (b-w) 91, fig. 15.

Andrea Bayer, ed., Art and Love in Renaissance Italy (exhibition catalogue) (New York: Metropolitan Museum of Art, 2008), cat. no. 72, discussed 158-159, illus., recto and verso (color) 159.

Perri Lee Roberts, Corpus of Early Italian Paintings in North American Public Collections: The South, Vol. 3 (Athens, GA: Georgia Museum of Art, University of Georgia, 2009), discussed 602, illus. (b-w) 603.

David Steel, entry for The Triumph of Chastity, in North Carolina Museum of Art: Handbook of the Collections, rev. ed. (Raleigh: North Carolina Museum of Art, 2010), 260, illus. (color) 261.

Patricia Simons, "Manliness and the Visual Semiotics of Bodily Fluids in Early Modern Culture," in Journal of Medieval and Early Modern Studies 39:2, Spring 2009 (Durham: Duke University Press, 2009), discussed 344-345, illus. 344, fig. 5.

Mary Shay-Millea, “The Lover Entrapped: Virtue and Vice in Raphael’s Portrait of a Lady with a Unicorn,” in Sublime Beauty: Raphael’s “Portrait of a Lady with a Unicorn,” Esther Bell, ed. (London: D. Giles Limited for the Cincinnati Art Museum, 2015), mentioned 42, illus. (color) 43, fig. 19.

Jean-Claude Lebensztejn, Figures pissantes, 1280–2014 (Paris: Éditions Macula, 2016), 22, verso illus. (color) 39, fig. 39.

Alison Cole, Michelangelo: The Taddei Tondo (London: Royal Academy of Arts, 2017), mentioned 16, reverse illus (color) 18, fig. 12.

Helena Feder, ed., “You Are the River: Literature Inspired by the North Carolina Museum of Art" (Raleigh, NC: North Carolina Museum of Art, 2021), illus (color) 7 (detail).

Kevin Boyle, "Seed Pods and Chastity, 1458" in “You Are the River: Literature Inspired by the North Carolina Museum of Art,” edited by Helena Feder (Raleigh, NC: North Carolina Museum of Art), 2021, illus (color) 92.

Lyle Humphrey, "Saul Among the Prophets: W.R. Valentiner, Robert L. Humber, Carl W. Hamilton, and the Italian Collection at the NCMA," Lisandra Estevez, ed., Collecting Early Modern Art (1400-1800) in the U.S. South (Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2021), 40.Exhibition HistoryWashington, DC, National Gallery of Art, 1941-1956, cat. K491 (as by Master of the Jarves Cassoni).

Allentown, PA, Allentown Art Museum, "Beyond Nobility: Art for the Private Citizen in the Early Renaissance," 1980, cat. no. 4, illus.

Raleigh, NC, North Carolina Museum of Art, Mary Duke Biddle Education Gallery, "Kaleidoscope: Pattern in Art," September 15, 1988-June 25, 1989.

Raleigh, NC, North Carolina Museum of Art, "A Gift to North Carolina: Italian Paintings and Sculpture from the Kress Collection," February 5-April 24, 1994, handout no. 17.

Brunswick, ME, Bowdoin College Museum of Art, "Beauty & Duty: The Art and Business of Renaissance Marriage," March 27-July 27, 2008, cat. no. 8, illus. (color).

New York, Metropolitan Museum of Art, "Art and Love in Renaissance Italy," November 11, 2008-February 16, 2009; Fort Worth, TX, Kimbell Art Museum, March 15-June 14, 2009, cat. no. 72, illus., recto and verso (color).

New York, NY, Metropolitan Museum of Art / The Cloisters, “Search for the Unicorn,” May 14–August 18, 2013.

Raleigh, NC, North Carolina Museum of Art, "The People's Collection, Reimagined," October 7, 2022–present. Object Rights Statement

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