Lot 110
  • 110

BERNARDINO FUNGAI | Madonna and Child with Saint Anselm and Saint Sebastian

80,000 - 120,000 USD
bidding is closed


  • Bernardino Fungai
  • Madonna and Child with Saint Anselm and Saint Sebastian
  • tempera on panel
  • 35 by 28 in.; 88.9 by 71.1 cm. 


Graham Charles Somervell, 1887;
Henry Wagner, London, by 1893;
By whom sold, London, Christie's, 16 January 1925, lot 87 (as Andrea di Niccolo);
Arthur and Margaret Glasgow;
By whom given to the Virginia Museum of Fine Arts, 1949 (acc. no. 49.10.1). 


London, The New Gallery, Exhibition of Early Italian Art from 1300 to 1500, 1893-94 (lent by Henry Wagner);
Burlington Fine Arts Club, London, 1904;
Virginia, Danville Wednesday Club, April 1953;
Virginia, Roanoke Fine Arts Center, December 1953.


B. Berenson, Lost Works of the Last Sienese Masters, Part III, 1897
International Studies, vol. 98, April 1931, pp. 420-422;
B. Berenson, "Quadri Sensa Casa", in Dedolo, April 1931, pp. 758-760;
European Art in the Virginia Museum of Fine Arts, Virginia Museum of Fine Arts, Richmond, 1966, p. 15, reproduced;
B. Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools, London 1968, vol. I, p. 151; 
B. Berenson, Homeless Paintings of the Renaissance, London 1970, p. 72, reproduced, fig. 107;
B.B. Frederickson and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Massachusetts 1972, p. 76. 

Catalogue Note

Little is known of the biography of Bernardino Fungai, a Sienese painter whose work served as a bridge from the Gothic tradition in that city to the more contemporary early Renaissance movement pioneered by fellow central Italian Italian painters, notably Perugino and Luca Signorelli. Fungai is, however, first recorded in 1482 as a pupil of Benvenuto di Giovanni (1436-after 1518), when he was working on the frescoes on the drum of the cupola of the Siena Cathedral. Modern scholarship has focused on his only signed and dated picture, a Coronation of the Virgin with Saints and Angels of 1512 in the Pinacoteca, Siena as basis for attribution and critical comparison. Indeed, the position of the Madonna's lowered head, the pin on her mantle, and her drapery, all relate to the same figure in the Siena Coronation. In both of these works, furthermore, landscape plays a central role. The stark contrast between the large figures and the panoramic, brightly lit rolling hills is characteristic of Fungai's elegantly composed style.