Antonio del ceraiolo biography

Antonio del Ceraiolo, also known as Antonio di Arcangelo was an Italian Renaissance painter active in his native Florence between 1518 and 1538.
Antonio del Ceraiolo, also known as Antonio di Arcangelo, was an Italian Renaissance painter active in his native Florence between 1518 and 1538.
Antonio del Ceraiolo was born in 1500, in Florence.

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ANTONIO DEL CERAIOLO | The Madonna and Child with the infant Saint John the Baptist

Description

The Madonna and Child with the infant Saint John the Baptist
oil on pine panel
78 x 60 cm

Provenance

In the possession of the family of the current owner since the late 19th century.

Condition

The panel is uncradled, bowed, and has one horizontal baton and two blocks affixed to the reverse. The paint surface is clean, the varnish is clear and even, and the pigments appear very bright and fresh. There are small losses and associated visible retouchings along two restored vertical cracks, the largest starting at the centre of the upper margin and approx. 26 cm. long, the second starting along the centre of the lower margin and approx. 5 cm. long (probably the cause for the baton and blocks on the reverse). There are a handful of discoloured pin prick retouchings scattered in the Baptist's red cloak and the Madonna's nose. Inspection under ultraviolet light reveals these, as well as a few further spots, one in the Madonna's chest, and in the lower right corner, but

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File:Antonio del ceraiolo, predella con nove santi martiri, dalla distrutta chiesa di s. caterina delle ruote a firenze (pala oggi a berlino), 04 mattia.jpg

Permission
(Reusing this file)

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Currently on Display

Name:

Madonna and Child with Infant St. John the Baptist

Artist:

Antonio del Ceraiolo (Italian, active Circa 1524), painter

Measurements:

41 x 31 1/2 in. (104.1 x 80 cm)

Department:

European Paintings, Sculpture and Drawings

Credit Line:

Gift of Mrs. E.W. Edwards

Provenance:

Mr. and Mrs. E. W. Edwards, Cincinnati (as by Raphael) by 1951; given by Mrs. Edwards to the CAM in 1954. [1] The painting may have been in the Edwards' collection as early as 1933 when their collection was exhibited at the Dayton Art Institute. The Edwards' collection was again exhibited there in 1940. No checklist available.