KPM Berlin Bildplatte "Johannes der Täufer" Detailausschnitt nach Gemäldevorlage des italienischen Malers Andrea del Sarto (1486–1530), links unten signiert Scherf, Lauschaer Porzellanmaler Felix Scherf (geboren 1954), Pressmarke ab 1825, Prägezeichen und Nummer 237 158, hochrechteckige Porzellanplatte mit feiner polychromer Aufglasurbemalung, Bruststück eines Knaben mit freiem Oberkörper vor dunklem Grund, um den Hals ein blaues Tuch geknotet, in schöner Goldstuckleiste gerahmt, guter Zustand, Maße Platte 24 x 16,5 cm, Maße max. 33 x 24,5 cm. KPM Berlin picture plate "Johannes der Täufer" Detail detail after a painting by the Italian painter Andrea del Sarto (1486-1530), signed Scherf lower left, Lauscha porcelain painter Felix Scherf (born 1954), impressed mark from 1825, embossed mark and number 237 158, rectangular porcelain plate with fine polychrome overglaze painting, bust of a boy with free upper body in front of a dark background, a blue scarf knotted around the neck, framed in beautiful gold stucco moulding, good condition, dimensions plate 24 x 16.5 cm, dimensions max. 33 x 24.5 cm.
Roman School 17th Century, Portrait of a man . Black chalk on paper. On the back described, with attribution to Andrea del Sarto ( 1486-1530) and description about Steippe Collection . 39 x 26,5 cm
Andrea del Sarto (Firenze 1486 - 1530) copia del XVII secolo Madonna col Bambino, S. Giovannino e due angeli Olio su tela 117 x 86 cm L'opera si ispira al dipinto conservato alla Wallace Collection di Londra Andrea del Sarto (Florence 1486 - 1530) copy of the 17th century Madonna and Child, St John the Baptist and Two Angels Oil on canvas 117 x 86 cm The work is inspired by the painting held at the Wallace Collection in London
A very large engraving from the collected works showing the paintings in the Royale Gallery of Dresden. Here Andrrea del Sarto's work of the Sacrifice of Isaac, showing a landscape with in the center foreground Isaac, his left knee resting on a pedestal, and Abraham, holding a knife and looking up as an angel appears to stop the sacrifice; a fortified city in the distance, to right. c.1757 Engraving and etching made by French printmaker Louis Surugue after the intermediary drawings by the Italian Giovanni Battista Internari. The painting by Del Sarto is still in the Gemäldegalerie, Dresden; see Shearman, 1965, cat. No.94.
FLORENTINE SCHOOL IN THE CIRCLE OR FOLLOWING OF ANDREA DEL SART 16 July 1486 Florence - 29 September 1530 ibid. HEAD STUDY OF A CHILD IN PROFILE Red chalk on handmade paper (watermark unidentified). Sheet size: 13x10 cm (polygonal), passe-partout size: 25x23 cm. Edges trimmed, mounting residue on reverse. In passe-partout. Provenance: Private collection, Rhineland. FLORENTINISCHE SCHULE IM UMKREIS BZW. DER NACHFOLGE VON ANDREA DEL SARTO 16. Juli 1486 Florenz - 29. September 1530 ebenda KOPFSTUDIE EINES KINDES IM PROFIL Rötel auf Büttenpapier (Wasserzeichen ungedeutet). Blattmass: 13 x 10 cm (polygonal), Passepatoutmass. Kanten beschnitten, Rückcseite Montagereste. Im Passepartout. Provenienz: Rheinische Privatsammlung.
MADONNA MIT KIND UND DEM JUNGEN JOHANNES Öl auf Holz. 143,5 x 108,5 cm. Um 1517. Beigegeben eine gutachterliche Dokumentation (Fotokopie) von Dr. Elizabeth Pilliod, Rutgers University, das Gemälde del Sarto zuschreibend. Ebenfalls beigegeben eine diagnostische Analyse (Fotokopie) von Emmebi Diagnostica Artistica, Rom. Die bekannte Fassung des Gemäldes aus den Jahren 1517/18 befindet sich in der Galerie der Villa Borghese in Rom (154 x 101 cm) und unterscheidet sich in den Abmessungen von der hier vorliegenden Version. Auch inhaltlich zeigen sich Unterschiede: in der Borghese-Version sind die Hintergrundelemente wie der Kreuzstab des Johannes klarer erkennbar, während sie im vorliegenden Gemälde weitgehend im Dunkel verschwinden. Auch der Nimbus des Johannes sowie das Velum, das Maria hinterfängt, sind in der vorliegenden Version in unterschiedlicher Leuchtkraft wiedergegeben. Bei gleicher Qualität ist hier ein kontrastreicherer Duktus erkennbar, ebenso deutlichere Sfumato-Konturen. Mindestens zehn Versionen dieser Komposition sind bekannt, einige in den mit unserem Bild übereinstimmenden Abmessungen, die in der Literatur (Freedberg 1963 und Sherman 1965) behandelt werden. Lionello Venturi betrachtete bereits 1921 das hier vorliegende Bild eher als ein Werk Del Sartos als die Borghese-Version. Die beiliegende Beurteilung von E. Pilliod nennt ein weiteres Werk („Madonna mit Kind, Dreiviertelansicht“) in engem Zusammenhang mit dem vorliegenden Bild. Es wurde festgestellt, dass das Gesicht der Madonna unseres Bildes auf eine Zeichnung Del Sartos zurückzuführen ist, die sich in der National Gallery, Washington D. C., befindet. Dies und weitere Vergleichsbeobachtungen sprechen für einen direkten Einfluss auf das hier vorliegende Bild. Auch die oben genannten Bildabmessungen zeigen bei unserem Bild eine stimmigere Einbindung der Beine von Jesus und Johannes. In der beiliegenden Besprechung werden zudem Pinselführung, Sfumato und das Helldunkel als zentrale Wesenselemente der Malweise Del Sartos hervorgehoben. Provenienz: Familie Guerrieri, London (19. Jahrhundert). Girolamo Palumbo, Rom (1890er-Jahre). Roberto Palumbo, Rom. Kunstmarkt New York (Fondatione Zeri Nr.109552) (1963, verifiziert von S. J. Freedberg, siehe Literatur). Literatur: Sydney J. Freedberg, Andrea del Sarto, Cambridge 1963, S. 70. John Sherman, Andrea del Sarto, Oxford 1965, S. 235. Keith Larry, Andrea del Sarto’s ’The Virgin and Child with Saint Elizabeth and Saint John the Baptist’: Technique and Critical Reputation, in: National Gallery Technical Bulletin 22 (2 – 19), S. 50 f, S. 43 ff. Vgl. Texte von Alexander Rauch im Teil Malerei in: Rolf Toman (Hrsg.), Die Kunst der italienischen Renaissance, Köln 1994. Vgl. Giorgio Vasari, Das Leben des Andrea del Sarto, Berlin 2005. A.R. (1442341) (11) Andrea del Sarto, 1486 – 1530/31 MADONNA AND CHILD WITH YOUNG SAINT JOHN THE BAPTIST Oil on panel. 143.5 x 108.5 cm. Ca. 1517. Accompanied by an expert’s report (copy) by Dr Elizabeth Pilliod, Rutgers University, attributed the painting to del Sarto. Also accompanied by a diagnostic analysis (copy) by Emmebi Diagnostica Artistica, Roma. The famous version of the painting dating 1517/18 is held at the gallery of the Villa Borghese in Rome, measuring 154 x 101 cm. Therefore, the dimensions of the present painting differ. Several other differences are also noticeable: for example, background elements are more clearly visible in the Borghese version, such as John the Baptist’s cross staff, which is largely lost in the shadows in the present painting. The halo of John the Baptist and the veil covering the Virgin’s head also appear with different degrees of luminosity in the present version. While of comparable quality, the present painting exhibits a more contrasting style and more pronounced sfumato contours. At least ten versions of this composition are known, some with the same dimensions as the present painting – discussed in the literature (Freedberg 1963 and Shearman 1965). As early as 1921, Lionello Venturi considered the present painting to be more likely a work by Del Sarto than the Borghese version. The enclosed report by E. Pilliod mentions another work (Madonna and Child, three-quarter length depiction) in close connection with the present work. It has been established that the face of the Madonna in our painting is based on a drawing by Del Sarto, held at the National Gallery in Washington, D.C. This and other comparative observations suggest a direct influence on the present painting. The aforementioned dimensions of the present painting also show a more harmonious integration of the legs of Christ and John. In the enclosed discussion, brushwork, sfumato, and chiaroscuro are also considered essential elements of Del Sarto’s painting style. Provenance: Guerrieri family, London (19th century). Girolamo Palumbo, Rome (1890s). Roberto Palumbo, Rome. Art trade New York (Fondazione Zeri, no. 109552) (1963, verified by S. J. Freedberg, see Literature). Literature: Sydney J. Freedberg, Andrea del Sarto, Cambridge Ma. 1963, p. 70. John Sheerman, Andrea del Sarto, Oxford 1965, p. 235. Keith Larry, Andrea del Sarto’s ’he Virgin and Child with Saint Elizabeth and Saint John the Baptist”: Technique and Critical Reputation, in: National Gallery Technical Bulletin, vol. 22 (2 – 19), p. 50 f., p. 43 f. cf. texts by Alexander Rauch in the section on painting in: Rolf Toman (ed.), Die Kunst der italienischen Renaissance, Cologne 1994. cf. Giorgio Vasari, Das Leben des Andrea del Sarto. Edition Giorgio Vasari, vol. 10. In new translation by Victoria Lorini. ed. by Alessandro Nova. Edited by Sabine Feser. 144 pages with some colour illustrations, Berlin 2005.
Matita rossa su carta vergellata color crema priva di filigrana. All'angolo in alto a destra a penna e inchiostro bruno in antica grafia "N° 142". mm 250x201. Al recto del foglio è raffigurato il personaggio di spalle sul primo piano in uno dei due episodi del Nuovo Testamento (Mt. XX, 1-16) affrescati da Andrea del Sarto a monocromo nell'angolo Nord-est dell'orto di S. Maria de' Servi, oggi Santissima Annunziata. Al verso è raffigurato il personaggio di spalle, leggermente proteso in avanti, collocato sul secondo piano a destra. L'affresco, forse realizzato nel 1512, andò distrutto nel 1724 per il crollo del muro. L'affresco perduto ci è noto attraverso una copia a olio (inv. 1890, 9165) conservata presso il Museo del Cenacolo di Andrea del Sarto (Chiesa e monastero di S. Michele a S. Salvi): il quadro, così come il suo pendant (Inv. 1890 n. 9164), è una copia antica databile al XVII secolo di qualità piuttosto scadente, nonostante l'indubbio interesse documentario che ricopre. Si confronti anche con l'incisione in controparte di Cornelis Cort datata 1563 (New Hollstein (Dutch & Flemish), 49) e con un disegno di scuola fiorentina che riporta l'intera composizione conservato al British Museum (inv. 1895,0915.540). Bibliografia: S.J.Freedberg, Andrea Del Sarto, Catalogue Raisonne, Cambridge, Massachusetts, 1963, pp. 64-65. J. Shearman, Andrea del Sarto, Oxford 1965, pp. 220-221. S. Padovani, S. Meloni Trkulja, Il cenacolo di Andrea del Sarto a San Salvi, Firenze 1982, p. 53.
Charcoal/graphite on time-worn blue paper Dimensions:28 × 20 cm Signed lower right: Del Sarto Registration/numbering mark: “15” (possibly a date fragment or catalog reference) Provenance: European private collection This rare work, marked by exceptional emotional softness, presents a delicate female head tilted gently upward — a pose often associated with the spiritual world of Italian Renaissance artists. The soft, fluid draftsmanship, the nuanced play of light and shadow, and the subdued tonality of the aged blue paper create a meditative, almost otherworldly atmosphere. The signature Del Sarto in the lower right corner is of particular interest. Whether this is a drawing by Andrea del Sarto himself — one of Florence’s foremost Renaissance painters and a contemporary of Leonardo da Vinci — or a work from his studio or a later piece attributed to his name, the drawing clearly reflects the artistic and aesthetic qualities of a rare and refined period. The work bears stylistic hallmarks of the Florentine School: precise anatomical balance, emotional sophistication, and a rendering that seems to “breathe” light. This is a museum-quality piece. Condition: For a detailed condition report, please contact: info@hammersite.com
DEL SARTO, ANDREA (KOPIE NACH) 1486 Florenz - 1530 ebd. Maria mit Kind und dem Heiligen Matthäus und einem Engel Öl auf Leinwand. Restauriert, doubliert. 147 x 111 cm. Rahmen.
HEILIGE FAMILIE MIT EINEM ORDENSMANN Öl auf Holz. 116 x 85 cm. Links unten mit Sammlungsnummer in Tinte „57“. Ungerahmt. Der Meister des hier angebotenen Gemäldes stammt offensichtlich aus dem Kreis des Andrea del Sarto, an dessen Kompositionen er sich orientiert hat. Auf einem doppelt getreppten Holzpodest die sitzende Maria in der ihr zukommenden Farbtrias, auf ihrem Schoß das Christuskind haltend, das dem Betrachter entgegenblickt. Beide Häupter, wie auch das des rechts halb auf dem Podest halb in auf der Bodenzone stehenden Josef, mit transzendent schimmernden im Raum liegenden Scheibennimben. Die Hand des Josef auf dem Rücken einer weiteren männlichen Figur liegend, wohl der Stifter. (1440483) (3) (13)
ANDREA DEL SARTO (1486-1530), d'après La Sainte Famille (Barberini) Huile sur épais panneau légèrement incurvé. Dimensions : 73 x 57,8 cm Provenance : - Ancienne vente comme Rosso Fiorentino, - Collection privée Monaco Panneau reprenant la version d'Andrea del Sarto peinte en 1520 se trouvant au Palais Barberini de Rome.
After Andrea del Sarto (Italian, 1486-1530) Oil on Canvas Undated, unsigned, a depiction of Andrea del Sarto's Madonna and child with St. Elizabeth and St. John the Baptist, unframed Property from: a Private Collector, Lake Zurich, Illinois Category: Fine Art > Paintings Estimated Sale Time: 1:49 pm CST Shipping Status: Due to size, weight, value or shipping complexity, this item must be shipped via a 3rd Party and the shipping cost may be high. We recommend contacting multiple shipping vendors for an estimate as the cost may vary greatly. Last modified: May 8, 2025, 12:24 pm
Olio su tavola. cm 70x53,5. Provenienza: collezione privata. Il dipinto è corredato di una nota che riporta un parere dell'ottobre 1966 espresso da Cesare Brandi nel quale lo studioso riconduceva la tavola alla cerchia sartesca, avanzando il nome di Domenico Puligo, e collocandolo attorno al 1520. La nota fa riferimento anche ad altra versione del soggetto presso Agnew's in occasione della 2° Biennale Mostra Mercato Internazionale Dell'Antiquariato, Firenze Palazzo Strozzi 16 settembre - 16 ottobre 1961 (catalogo Vallecchi), dove era presentata sotto il nome di Michele di Ridolfo del Ghirlandaio (Firenze,1503-1577). Il dipinto deriva da un modello di Andrea del Sarto conservato nella collezione Liechtenstein a Vaduz, (J. Schearman, Andrea del Sarto, Oxford, 1965, vol. II, n. 55, pp. 244-245, t. 71b) che riscosse molto consenso originando negli anni numerose versioni da parte di artisti della stretta cerchia sartesca.
J. Pilizotti (19th century) after Andrea del Sarto (1483 Florence - 1530 ibid.): Mourning for a monk or priest, laid out in front of an altar, 19th century, Lithography Technique: Lithography over tinted stone on Paper Inscription: Signed below in the stone. Date: 19th century Description: From the series "Lithographed Copies of Original Hand Drawings by Famous Old Masters of the German School from the Collection of His Imperial Highness the Most Serene Archduke Carl of Austria". Keywords: 19th century, Renaissance, , Religious, Germany, Size: Paper: 55,0 cm x 39,5 cm (21,7 x 15,6 in), Depiction: 36,0 cm x 31,5 cm (14,2 x 12,4 in)
Oil on panel. Dimensions: 124 x 103 cm. This composition depicts a traditional scene of the Holy Family, where the Virgin Mary, the Child Jesus, and Saint Joseph appear accompanied by Saint John the Baptist. Most notable is the presence of several winged cherubs, arranged in a celestial atmosphere, symbolically crowning the Virgin as Queen of Heaven, which adds a theological and glorifying dimension to the scene. The attribution of this work to Andrea del Sarto (1486–1530) is based on solid stylistic evidence: the gentle treatment of chiaroscuro, the delicacy of the faces, and the warm and harmonious color palette are closely related to other well-known works by the Florentine master. Likewise, parallels have been identified in the painting technique—particularly in the modeling of the children's bodies and the use of light—as well as in the dimensions and support employed. However, the participation of his close circle cannot be ruled out. In fact, this painting bears certain similarities to the work of Domenico di Bartolomeo Ubaldini, known as Il Puligo (1492–1527), who worked in Andrea del Sarto's studio and was deeply influenced by him. The ethereal treatment of the cherubs, the sweetness of the female faces, and the intimate, contemplative atmosphere are characteristic features of Puligo. Located in international storage.
Etching and burin on laid paper with watermark Mary, with a book in her hand, surprised by the angel's announcement. In the background, the monastery of San Gallo in Florence. Above, the Holy Spirit. Measurements: Print. 50.4 x 37.7 cm
TABLEAU "LA SAINT FAMILLE" Suiveur d'Andrea Del SARTO (1486-1530/31) Huile marouflée sur panneau joliment encadrée, vers 1600. Dim : 107 x 81 cm Restaurations anciennes, craquelures, manques de couche picturale Dans un cadre d'époque. Vendu sur désignat
(1486 Florenz 1530) nach. Madonna mit dem Jesuskind und Johannes dem Täufer. Gegenseitige Kopie der Rad. n. R.Morghen v. Thom. Arrighetti u. Gaetano Vascellini. 33,5 x 25,8 cm. Auf Karton mont. R
DIE HEILIGE KATHARINA VON ALEXANDRIA Öl auf Leinwand. Doubliert. 84 x 62 cm. Ausschnitt nach einem Altarbild des Andrea del Sarto (1486-1530/31). Dreiviertelbildnis der Heiligen nach rechts vor schwarzem Hintergrund In ihrer rechten Hand die auf dem ihr attributiv zugeschriebenem Rad liegt, hält sie einen Märtyrer-Palmzweig. Sie hat ihren Kopf gewendet, hat rötliche Wangen und einen kleinen roten Mund. Mit ihren großen, bräunlichen Augen blickt sie traurig und nachdenklich nach unten. Nur ein schmaler goldener Nimbusreif hinter ihrem Kopf deutet ihrer Heiligkeit an. Der dargestellte Ausschnitt ganz auf den oberen Teil des Altarbildes von Andrea del Sarto zurückgehend. Vereinzelt rest., Retuschen. (1421242) (18)
(1486 Florenz 1530) zugeschrieben. Mars, Venus und Cupido. Rötelzeichnung. 11,3 x 17,4 cm. Verso von alter Hand Andrea del Sarto zugeschrieben. Unt. re. mit violettem Sammlerstempel Edward Habich (Lugt L.862). - Unt. re. Randeinriss. Fleckig. Tls. Dünnstellen. Verso fl. u Klebestreifen. Die umfangreiche Sammlung der niederländischen, flämischen, und italienischen Zeichnungen Habichs wurde 1899 in 762 Losen versteigert. R
(1486 Florenz 1530) nach. Madonna mit dem Jesuskind und Johannes dem Täufer. Gegenseitige Kopie der Rad. n. R.Morghen v. Thom. Arrighetti u. Gaetano Vascellini. 33,5 x 25,8 cm. Auf Karton mont. R
Three Antique Engravings Andrea Del Sarto, Antonio Allegri, Giulio Cesare Three Antique Engravings Andrea Del Sarto " The Sacrifice of Isaac " Surugue , Antonio Allegri Correggio depicting Madonna with St. George and Giulio Cesare Procaccini of holy family. Used condition, wear, worn, stains, foxing, losses. each are approximately 29 1/4" x 21"
Technique on paper (lithography), from the 20th century, Italian school, depicting Portrait of a Youth by Andrea Del Sarto (1486-1531). Inner frame dimensions: 18x26 cm By an anonymous artist.
Technique on paper (lithography), from the 20th century, Italian school, depicting Portrait of a Youth by Andrea Del Sarto (1486-1531). Inner frame dimensions: 18x26 cm By an anonymous artist.
Oil on canvas painting, after the ca. 1510 artwork titled Christ the Redeemer by Andrea del Sarto, 1486 to 1530, an Italian Renaissance artist. The original piece is now in the Santissima Annunziata church, Florence, Italy. Signed on the reverse as a Gallery copy. Retailed through the Giovanni Masini Gallery, founded in 1870 and still active today. Golden frame. Collectible Classic European Fine Art, Christian Religious Painting.
DIE HEILIGE FAMILIE MIT JOHANNES UND DER HEILIGEN KATHARINA Öl auf Leinwand. Doubliert. 92 x 110 cm. In ornamental reliefiertem Rahmen. In einem durch Mauerwerk angedeutetem Innenraum die in annähernder Symmetrie angeordneten Figuren vorn das liegende Christuskind darstellend, dahinter eine Reihe mit Maria, Johannes und der Heiligen Katharina deren ihr attributiv zukommendes Rad rechts am Rand angedeutet ist, links weiter etwas in den Hintergrund gerückt Joseph. Die drei ältesten Figuren mit Ringnimbus ausgestattet. (1381925) (13) Andrea del Sarto, 1486 – 1530/31, in the manner of THE HOLY FAMILY WITH SAINT JOHN THE BAPTIST AND SAINT CATHERINE Oil on canvas. Relined. 92 x 110 cm.
Ferdinand Piloty sen. (1786 Homburg - 1844 Munich) after Andrea del Sarto (1483 Florence - 1530 ibid.): Apostle Portrait of an elderly man with a halo, his arms folded and leaning on a table, 19th century, Lithography Technique: Lithography on Paper Inscription: Signed below the image. Date: 19th century Description: The sitter wears a halo. According to his outward appearance, he should be the apostle Peter. Source: Johann Nepomuk Strixner (1782 -1855 ) Königlich Baierischer Gemälde-Saal zu München und Schleißheim: Zweihundert Bilder in Steindruck von Strixner, Piloty und Anderen, 1817 | print suite Keywords: Old man, portrait art, apostle, Peter, saint, halo, Munich collection, 19th century, Baroque, Religious, Italy,
Announcement to Zacharias by Angel Gabriel, The Birth of Saint John Baptist, After a drawing/painting of André del Sarto (1486-1531. Engraving made by Pieter Van der Heyden(1530-1572) in Antwerp in 1551. Published by Hieronymus Cock (1518-1570) in 1551. References: Hollstein Dutch 4-1(2) First state of two, Riggs 184. Superb dark early impression with the ruling lines to engrave the text clearly visible. Only with the first 30 impressions visible. In excellent condition printed on thin laid paper mounted on another laid paper. On the margins, image is complete. Fold at the right and in the middle nearly visible, not disturbing. small stain at the left above. Very rare engraving of the early renaissance Flemish engravings made in the atelier of Hieronymus Cock.
DEL SARTO Andréa (c. 1486 - c.1530/31). D'après. "La naissance de Jean le Baptiste" ou "Zaccharie écrivant le nom de Jean-Baptiste" pierre noire et lavis d'encre brune sur papier vergé et filigrané. D'après Andrea del Sarto et une fresque pour cloître du Scalzo à Florence. Porte en bas au centre un cachet de collection. Provenance : Maison princière et ducale Anhalt - Dessau. Ecole italienne. Epoque : XVIIème. (Rousseurs et déchirures). Dim. : +/- 214x312 mm.
DEL SARTO Andréa (c. 1486 - c.1530/31). Attribué à. "La naissance de la Vierge" pierre noire et lavis d'encre brune sur papier vergé et filigrané. Attribué à Andrea del Sarto. Une fresque pour le petit cloître de Dei Voti dans la basilique della Santissima Annunziata à Florence. Porte en bas à droite un cachet de collection. Provenance : Maison princière et ducale Anhalt - Dessau. On y joint un dossier de recherche comparative. Ecole italienne. Epoque : XVIème. Dim. : +/- 214x312 mm.
DEL SARTO Andréa (c. 1486 - c.1530/31). D'après. "L'arrestation de Jean-Baptiste" pierre noire et lavis d'encre brune sur papier vergé et filigrané. D'après Andrea del Sarto. Porte en bas au centre un cachet de collection. Provenance : Maison princière et ducale Anhalt - Dessau. Ecole italienne. Epoque : XVIème. (Rousseurs et déchirures). Dim. : +/- 210x312 mm.
Circle of Andrea Del Sarto (1486 - 1530) The Virgin, Christ and John The Baptist Oil on panel With a letter of potential acquisition from the director of the National Gallery of Canada, Ottawa, dated May 10th, 1938. Label verso, inscribed 'From the Convent of San Giovanni Valdarno'. Provenance: Convento di San Francesco a Montecarlo, San Giovanni Valdarno; Lord Wenlock; Peyton-Jones family, Wendover Dean Farm, Bucks; And by descent. Dimensions:
Antoine Maurin (1793 Perpignan - 1860 Paris): Portrait of Andrea del Sarto (1486 Gualfonda - 1530 Florence), c. 1850, Lithography Technique: Lithography on Paper Date: c. 1850 Description: Portrait: Anre del Sarto (1488- 1530), painter of the Romanesque School. Colour lithograph. Inscribed: ANDRE DEL SARTE. Signed: Maurin. Lith. de Vallain. En souscrit de l'editeur, rue du Dragon N°. 42. Separate text information (In French by Chabert) in the format of the art sheet. Inscribed: Andre del Sarte, Feet. Lith de Vallain. Person: Andrea del Sarto (1486 - 1530 ) Keywords: 19th century, Romanticism, Portraits, Italy,
Follower of Andrea del Sarto (Florence 1486-1530) A monk in full length habit, standing with hands behind his back bears inscription 'Andrea del Sarto nel stile d'alberto Duro 49' (lower left) red chalk and traces of pen and brown ink on paper 37 x 16.5cm (14 9/16 x 6 1/2in). unframed
Antoine Maurin (1793 Perpignan - 1860 Paris): Andrea Sarto (1486-1530), c. 1850, Lithography Technique: Lithography on Paper Date: c. 1850 Description: Portrait: Anre del Sarto (1488- 1530), painter of the Romanesque School. Colour lithograph. Inscribed: ANDRE DEL SARTE. Signed: Maurin. Lith. de Vallain. En souscrit de l'editeur, rue du Dragon N°. 42. Separate text information (In French by Chabert) in the format of the art sheet. Inscribed: Andre del Sarte, Feet. Lith de Vallain. Person: Andrea del Sarto (1486 - 1530 ) Keywords: 19th century, Romanticism, Portraits, Italy,
(1486-1530) nach. Beweinung Christi. Miniaturmalerei auf (Elfen-?) Bein von Paygert, wohl 19. Jh. 8,8 x 11, cm. Unt. re. sign. Ecken beschn. - Stellenw. kl. Farbabplatzungen. D
(1486-1530) nach. Beweinung Christi. Miniaturmalerei auf (Elfen-?) Bein von Paygert, wohl 19. Jh. 8,8 x 11, cm. Unt. re. sign. Ecken beschn. - Stellenw. kl. Farbabplatzungen. D
Ferdinand Piloty sen. (1786 Homburg - 1844 Munich) after Andrea del Sarto (1483 Florence - 1530 ibid.): Apostle Portrait of a Saint, 19th century, Lithography Technique: Lithography on Paper Inscription: Signed below the image. Date: 19th century Description: The sitter wears a halo. According to his outward appearance, he should be the apostle Peter. Source: Johann Nepomuk Strixner (1782 -1855 ) Königlich Baierischer Gemälde-Saal zu München und Schleißheim: Zweihundert Bilder in Steindruck von Strixner, Piloty und Anderen, 1817 | print suite Keywords: Old man, portrait art, apostle, Peter, saint, halo, Munich collection, 19th century, Baroque, Religious, Italy,
After Andrea del Sarto (Italian, 1486-1530) Virgin and Child with St. Elizabeth and the infant St. John the Baptist Oil on canvas 54-1/2 x 41-1/2 inches (138.4 x 105.4 cm) Property from a Bel Air, California, Estate One of the great master painters of Florence, Andrea del Sarto composed the original work, done on panel, for Ottaviano de'Medici in 1529. The striking diagonal composition, packed with gesture, exemplifies del Sarto's output, and the present work faithfully reflects his style and dedication to a technical, highly finished method. Also known as the Medici Holy Family, the original painting is presently housed in the Palazzo Pitti, an affiliate of the Uffizi Gallery. Property from a Bel Air, California Estate HID01801242017
![Andrea Del Sarto [da], La parabola dei vignaioli. La chiamata. Figura di spalle con cappello e mantello sul primo piano al centro (r). Figura di spalle china sul secondo piano a destra (v). 1560-1600 ca.](https://image.invaluable.com/housePhotos/Gonnelli/28/802628/H4780-L420773822.jpg)
![Andrea Del Sarto [cerchia di], San Giovanni Battista. 1570 ca.](https://image.invaluable.com/housePhotos/Gonnelli/18/791418/H4780-L402942233.jpg)
