A Woman in Green and Crimson
painter
Piero del Pollaiuolo
(Florence, 1443 - 1496, Rome)
Dateabout 1490-1499
Place MadeFlorence, Tuscany, Italy, Europe
MediumOil on panel
Dimensions48 x 30.5 cm (18 7/8 x 12 in.)
ClassificationsPaintings
Credit LineIsabella Stewart Gardner Museum, Boston
Accession numberP16w7
eMuseum ID718744
EmbARK ObjectID10798
TMS Source ID66
Last Updated8/9/24
Status
Not on viewWeb CommentaryIsabella Stewart Gardner kept meticulous records of many of her acquisitions. In keeping with this legacy, object information is continually being reviewed, updated, and enriched in order to give greater access to the collection.
BibliographyNotesHotel Drouot. Catalogue des objets d'art et de haute curiosité. Tableaux anciens composant la Preciéuse Collection de M. Ernest Odiot. (Paris, 26-27 April 1889), p. 22, no. 2 (as attributed to Piero della Francesca)
Bernard Berenson. The Florentine Painters of the Renaissance, with an Index to their Works (New York, 1896), p. 199 (as Antonio del Pollaiuolo)
Wilhelm von Bode. Die Sammlung Oscar Hainauer (Berlin, 1897), p. 68 (as Piero del Pollaiuolo)
H.W. "Loan Exhibition of Medieval and Renaissance Art in Berlin." The Athenaeum (11 June 1898), p. 764 (as Piero del Pollaiuolo)
Ausstellung von Kunstwerken des Mittelalters und der Renaissance aus Berliner Privatbesitz: veranst. von der Kunstgeschichtlichen Gesellschaft 20 Mai bis 3. Juli 1898. Exh. cat. (Berlin, 1898), p. 41, ill.
E. Thieme. The Collection of Oscar Hainauer (London, 1906), p. 15, no. 50 (as Piero del Pollaiuolo)
Unknown author. "A Picture by Piero Pollajuolo." The Connoisseur (Dec 1906), p. 263 (as Piero del Pollaiuolo, as painted in oil)
Maud Cruttwell. Antonio Pollaiuolo (London, 1907), pp. 181-82 (as Piero del Pollaiuolo working under the influence of Antonio, as dated post-1465)
Herbert P. Horne. Alessandro Filipepi, Commonly Called Sandro Botticelli, Painter of Florence (London, 1908), p. 21 (as Piero del Pollaiuolo)
Bernard Berenson. The Florentine Painters of the Renaissance, with an Index to their Works (New York, 1909), p. 172 (as Antonio del Pollaiuolo)
Langton Douglas (ed.). A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century by J.A. Crowe and G.B. Cavalcaselle, vol. 4 (New York, 1911), p. 232, n2 (as attributed to Piero del Pollaiuolo)
Adolfo Venturi. Storia dell'arte Italiana VII. La Pittura del Quattrocento, parte I (Milan, 1911), p. 574 (as Piero del Pollaiuolo)
Wilhelm von Bode. "More Spurious Pictures Abroad than in America." The New York Times, 31 December 1911 (as Piero del Polliauolo)
Raimond van Marle. The Development of the Italian Schools of Painting, vol. 11 (The Hague, 1929), p. 406, pl. 253 (as Piero del Pollaiuolo, as dated after 1470)
Wilhelm Suida. "Ein Bildnis von Bastiano Mainardi." Pantheon (Jan 1930), p. 4, ill. (as Piero del Pollaiuolo)
Lionello Venturi. Pitture Italiane in America (Milan, 1931), no. 175 (as Piero del Pollaiuolo)
Philip Hendy. Catalogue of the Exhibited Paintings and Drawings (Boston, 1931), pp. 271-72 (as Piero del Pollaiuolo)
Bernard Berenson. Italian Pictures of the Renaissance (Oxford, 1932), p. 465 (as Antonio del Pollaiuolo)
Gilbert Wendel Longstreet and Morris Carter. General Catalogue (Boston, 1935), p. 105. (as Piero del Pollaiuolo)
Attilio Sabatini. Antonio e Piero del Pollaiuolo (Florence, 1944), p. 110 (as Piero del Pollaiuolo)
Sergio Ortolani. Il Pollaiuolo (Milan, 1948), p. 229, pl. 142 (as Piero del Pollaiuolo with the influence of Antonio del Pollaiuolo)
Stuart Preston. "A Woman in Green and Crimson" in Alfred M. Frankfurter (ed.). The Gardner Collection (New York, 1946), p. 21.
Aline B. Saarinen. The Proud Possessors (New York, 1958), pp. 33-34.
William N. Mason. “Notes, Records, Comments.” Gardner Museum Calendar of Events 6, no. 15 (9 Dec. 1962), p. 2.
Bernard Berenson. Italian Pictures of the Renaissance, Florentine School, vol. 1 (London, 1963), p. 178 (as Antonio del Pollaiuolo)
Bernard Berenson. Italian Pictures of the Renaissance, Florentine School, vol. 2 (London, 1963), pl. 777
“Notes, Records, Comments.” Gardner Museum Calendar of Events 6, no. 29 (17 Mar. 1963), pp. 1-2. (excerpting Saarinen, pp. 33-34)
Josée Mambour. "L'Évolution estétique des profils florentins du Quattrocento." Belgisch Tijdschrift voor Oudheidkunde en Kunstgeschiedenis 38 (1971), p. 52, ill. (as Antonio del Pollaiuolo)
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, MA, 1972), p. 168 (as Pollaiuolo)
Rollin van N. Hadley et al. "Berenson and Mrs. Gardner: The Museum Years." Fenway Court (1974), pp. 10-11, ill. 10.
Philip Hendy. European and American Paintings in the Isabella Stewart Gardner Museum (Boston, 1974), pp. 186-88 (as Piero del Pollaiuolo)
Leopold D. Ettlinger. Antonio and Piero Pollaiuolo: Complete Edition with a Critical Catalogue (London, 1978), p. 170 (as at one time ascribed to Antonio del Pollaiuolo or Piero del Pollaiuolo)
Rollin van N. Hadley (ed.). The Letters of Bernard Berenson and Isabella Stewart Gardner 1887-1924 (Boston, 1987), pp. 404-408, 411, 412, 439, 440, 446, 448, 454, 457, 515. (as Antonio del Pollaiuolo)
Lorne Campbell. Renaissance Portraits: European Portrait-Painting in the 14th, 15th and 16th Centuries (New Haven, 1990), no. 88, ill. (as Piero del Pollaiuolo, as dated about 1470)
Nicoletta Pons. I Pollaiolo (Florence, 1994), p. 99, no. 13, ill. (as Piero del Pollaiuolo)
Jennifer E. Craven. "A New Historical View of the Independent Female Portrait in Fifteenth-Century Florentine Painting." PhD diss. (University of Pittsburgh, 1997), pp. 251-53, no. 15, ill. (as Piero del Pollaiuolo, as dated circa 1470)
Alison Wright. The Pollaiuolo Brothers: The Arts of Florence and Rome (New Haven, 2005), pp. 127-28, 523, no. 53 (as Piero del Pollaiuolo, as dated to the early 1470s)
Laurence Kanter. "Review of The Pollaiuolo Brothers: The Arts of Florence and Rome by Alison Wright." The Burlington Magazine (April 2006), p. 281 (as not necessarily by Piero del Pollaiuolo, as possibly part of a piece of furniture)
Aldo Galli. "The Fortune of the Pollaiuolo Brothers" in Andrea di Lorenzo et al. (eds.). Antonio and Piero del Pollaiuolo: "Silver and Gold, Painting and Bronze..." Exh. cat. (Milan: Museo Poldi Pezzoli, 2015) pp. 71-73, fig. 72 (as Piero del Pollaiuolo?)
Bernard Berenson. The Florentine Painters of the Renaissance, with an Index to their Works (New York, 1896), p. 199 (as Antonio del Pollaiuolo)
Wilhelm von Bode. Die Sammlung Oscar Hainauer (Berlin, 1897), p. 68 (as Piero del Pollaiuolo)
H.W. "Loan Exhibition of Medieval and Renaissance Art in Berlin." The Athenaeum (11 June 1898), p. 764 (as Piero del Pollaiuolo)
Ausstellung von Kunstwerken des Mittelalters und der Renaissance aus Berliner Privatbesitz: veranst. von der Kunstgeschichtlichen Gesellschaft 20 Mai bis 3. Juli 1898. Exh. cat. (Berlin, 1898), p. 41, ill.
E. Thieme. The Collection of Oscar Hainauer (London, 1906), p. 15, no. 50 (as Piero del Pollaiuolo)
Unknown author. "A Picture by Piero Pollajuolo." The Connoisseur (Dec 1906), p. 263 (as Piero del Pollaiuolo, as painted in oil)
Maud Cruttwell. Antonio Pollaiuolo (London, 1907), pp. 181-82 (as Piero del Pollaiuolo working under the influence of Antonio, as dated post-1465)
Herbert P. Horne. Alessandro Filipepi, Commonly Called Sandro Botticelli, Painter of Florence (London, 1908), p. 21 (as Piero del Pollaiuolo)
Bernard Berenson. The Florentine Painters of the Renaissance, with an Index to their Works (New York, 1909), p. 172 (as Antonio del Pollaiuolo)
Langton Douglas (ed.). A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century by J.A. Crowe and G.B. Cavalcaselle, vol. 4 (New York, 1911), p. 232, n2 (as attributed to Piero del Pollaiuolo)
Adolfo Venturi. Storia dell'arte Italiana VII. La Pittura del Quattrocento, parte I (Milan, 1911), p. 574 (as Piero del Pollaiuolo)
Wilhelm von Bode. "More Spurious Pictures Abroad than in America." The New York Times, 31 December 1911 (as Piero del Polliauolo)
Raimond van Marle. The Development of the Italian Schools of Painting, vol. 11 (The Hague, 1929), p. 406, pl. 253 (as Piero del Pollaiuolo, as dated after 1470)
Wilhelm Suida. "Ein Bildnis von Bastiano Mainardi." Pantheon (Jan 1930), p. 4, ill. (as Piero del Pollaiuolo)
Lionello Venturi. Pitture Italiane in America (Milan, 1931), no. 175 (as Piero del Pollaiuolo)
Philip Hendy. Catalogue of the Exhibited Paintings and Drawings (Boston, 1931), pp. 271-72 (as Piero del Pollaiuolo)
Bernard Berenson. Italian Pictures of the Renaissance (Oxford, 1932), p. 465 (as Antonio del Pollaiuolo)
Gilbert Wendel Longstreet and Morris Carter. General Catalogue (Boston, 1935), p. 105. (as Piero del Pollaiuolo)
Attilio Sabatini. Antonio e Piero del Pollaiuolo (Florence, 1944), p. 110 (as Piero del Pollaiuolo)
Sergio Ortolani. Il Pollaiuolo (Milan, 1948), p. 229, pl. 142 (as Piero del Pollaiuolo with the influence of Antonio del Pollaiuolo)
Stuart Preston. "A Woman in Green and Crimson" in Alfred M. Frankfurter (ed.). The Gardner Collection (New York, 1946), p. 21.
Aline B. Saarinen. The Proud Possessors (New York, 1958), pp. 33-34.
William N. Mason. “Notes, Records, Comments.” Gardner Museum Calendar of Events 6, no. 15 (9 Dec. 1962), p. 2.
Bernard Berenson. Italian Pictures of the Renaissance, Florentine School, vol. 1 (London, 1963), p. 178 (as Antonio del Pollaiuolo)
Bernard Berenson. Italian Pictures of the Renaissance, Florentine School, vol. 2 (London, 1963), pl. 777
“Notes, Records, Comments.” Gardner Museum Calendar of Events 6, no. 29 (17 Mar. 1963), pp. 1-2. (excerpting Saarinen, pp. 33-34)
Josée Mambour. "L'Évolution estétique des profils florentins du Quattrocento." Belgisch Tijdschrift voor Oudheidkunde en Kunstgeschiedenis 38 (1971), p. 52, ill. (as Antonio del Pollaiuolo)
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, MA, 1972), p. 168 (as Pollaiuolo)
Rollin van N. Hadley et al. "Berenson and Mrs. Gardner: The Museum Years." Fenway Court (1974), pp. 10-11, ill. 10.
Philip Hendy. European and American Paintings in the Isabella Stewart Gardner Museum (Boston, 1974), pp. 186-88 (as Piero del Pollaiuolo)
Leopold D. Ettlinger. Antonio and Piero Pollaiuolo: Complete Edition with a Critical Catalogue (London, 1978), p. 170 (as at one time ascribed to Antonio del Pollaiuolo or Piero del Pollaiuolo)
Rollin van N. Hadley (ed.). The Letters of Bernard Berenson and Isabella Stewart Gardner 1887-1924 (Boston, 1987), pp. 404-408, 411, 412, 439, 440, 446, 448, 454, 457, 515. (as Antonio del Pollaiuolo)
Lorne Campbell. Renaissance Portraits: European Portrait-Painting in the 14th, 15th and 16th Centuries (New Haven, 1990), no. 88, ill. (as Piero del Pollaiuolo, as dated about 1470)
Nicoletta Pons. I Pollaiolo (Florence, 1994), p. 99, no. 13, ill. (as Piero del Pollaiuolo)
Jennifer E. Craven. "A New Historical View of the Independent Female Portrait in Fifteenth-Century Florentine Painting." PhD diss. (University of Pittsburgh, 1997), pp. 251-53, no. 15, ill. (as Piero del Pollaiuolo, as dated circa 1470)
Alison Wright. The Pollaiuolo Brothers: The Arts of Florence and Rome (New Haven, 2005), pp. 127-28, 523, no. 53 (as Piero del Pollaiuolo, as dated to the early 1470s)
Laurence Kanter. "Review of The Pollaiuolo Brothers: The Arts of Florence and Rome by Alison Wright." The Burlington Magazine (April 2006), p. 281 (as not necessarily by Piero del Pollaiuolo, as possibly part of a piece of furniture)
Aldo Galli. "The Fortune of the Pollaiuolo Brothers" in Andrea di Lorenzo et al. (eds.). Antonio and Piero del Pollaiuolo: "Silver and Gold, Painting and Bronze..." Exh. cat. (Milan: Museo Poldi Pezzoli, 2015) pp. 71-73, fig. 72 (as Piero del Pollaiuolo?)
MarksNotesWax seal (reverse, bottom left): on a mount in base a tall, or Latin, cross with the top and ends of the crossbeam patty and two goats(?) rampant against the upright; at either end of the crossbeam also is a star or roundel
Wax seal (reverse, upper right): within a rectangular border, a lozenge with the initial "P" in gothic script surmounted by an animal, possibly a beaver; above a banderole with illegible inscription
Wax seal (reverse, upper right): within a rectangular border, a lozenge with the initial "P" in gothic script surmounted by an animal, possibly a beaver; above a banderole with illegible inscription
ProvenanceNotesPurchased by the art collector Ernest Odiot (1828-1890) from the connoisseur and dealer Stefano Bardini (1836-1922), Florence in 1874 for 400 lire.
Purchased by Oscar Hainauer (d. 1894) from the Odiot sale at Maison Drouot, Paris on 26-27 April 1889, on the advice of Wilhelm von Bode (1845-1929). (as attributed to Piero della Francesca)
Passed into the possession of his widow Frau Julie Hainauer, Berlin in 1894. (as Piero del Pollaiuolo)
Purchased by the dealers Duveen Brothers from Frau Julie Hainauer, 1907.
Purchased by Isabella Stewart Gardner from the dealers Duveen Brothers, London, for £12,000 ($58,305) in September 1907, through the American art historian Bernard Berenson (1865-1959). (as attributed to Antonio del Pollaiuolo)
Purchased by Oscar Hainauer (d. 1894) from the Odiot sale at Maison Drouot, Paris on 26-27 April 1889, on the advice of Wilhelm von Bode (1845-1929). (as attributed to Piero della Francesca)
Passed into the possession of his widow Frau Julie Hainauer, Berlin in 1894. (as Piero del Pollaiuolo)
Purchased by the dealers Duveen Brothers from Frau Julie Hainauer, 1907.
Purchased by Isabella Stewart Gardner from the dealers Duveen Brothers, London, for £12,000 ($58,305) in September 1907, through the American art historian Bernard Berenson (1865-1959). (as attributed to Antonio del Pollaiuolo)
Object/Provenance
