Identifier: catalogueofpictu00nati (find matches)
Title: A catalogue of the pictures and drawings in the National loan exhibition, in aid of National gallery funds, held in the Grafton Galleries, London (1909-1910)
Year: 1909 (1900s)
Authors: National Loan Exhibition (1909-1910 : London, England) Cook, Herbert Frederick, Sir, 1868-1939 Brockwell, Maurice Walter, 1869-1958 Grafton Galleries (London, England)
Subjects: Art
Publisher: London : W. Heinemann
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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Text Appearing Before Image:
H 91TITIAN: 1489(?).1576 Venetian School SAI.VATOR MUNDI ALF-LENGTH figure facing the spectator ; the right hand raisedin the attitude of blessing ; red robe ; dark background. Canvas. 30 in. x 22 in. (0.762 x 0.559). Crowe and Cavalcaselle (Life and Times of Titian, 1881, iii. 429) admit itsgenuineness, and add that the inscription on the panel would suggest that it oncebelonged to Domenico Ruzzini in Venice. Ridolfi (Le Maraviglie dell Arte,In Venetia, 1648,!. 261) states that this Senator owned a picture of this subject.Later it was in the Vetturi Collection at Venice. Exhibited at Burlington House, Old Masters, 1895, No. 119. Lent by the Earl of Darnley. •39
Text Appearing After Image:
92GIORGIONE: 1477 (?)-1510 (Ascribed to) Venetian School, circa 1530 RUSTIC CONXERT AvouNG man with a viola across his lap, seated under a tree tothe left ; opposite to him are two young women, one hold-ing an open book ; all three are seated on the bank, of a stream,beyond which are houses and a distant landscape. Formerly in Lord Northwicks Collection, where Dr. Waagen (Treasures ofArt in Great Britain, 1854, vol. iii. p. 202) records it as An Idyllic Subject,and describes it as the work of Palma Vecchio, conceived quite in the style ofGiorgione, of peculiar charm and broad masterly treatment. The attributionto Giorgione was, therefore, made in modern times. Canvas. 47 in. x 40 in. (1.193 x 1.016). Looking closer, however, we find that the colour scheme is by no meansGiorgionesque, but Palmesque, the bright yellows and the greens being essen-tially Bergamask. But Palma himself is excluded from the authorship of thispicture, not only because he never catches so much of Giorgioncs spi

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