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Madonna and Child with St Elizabeth and the infant John the Baptist and Two Angels
painting | flat art
canvas
Contemporary version of original in the Louvre (no.1515) by Andrea del Sarto
Crowded composition – Christ centre on Mary's lap, she to left and John the Baptist, a slightly larger child to right. Top RH sector occupied by St Elizabeth looking down with gaze embracing the other three. Two angels, heads close, complete an embracing arc in the top LH sector.
Elizabeth is also depicted in painted panel HEXAB133.18
Mary is also depicted in painted panels HEXAB133.17, HEXAB133.18, HEXAB199.1, & HEXAB203.9, and in stained-glass: HEXAB1402, HEXAB1414 (4 times), & HEXAB1422
Frame 250 mm wide all around. frame gilded wood, not glazed. The wooden frame (180 × 154 × 15 cm) is of substantial weight. Its elaborate moulded decoration, which gives a great depth to the design, dates it to the 19th century.
16th cent
“Correggio's Holy Family painting, temporarily fixed [above altar against west wall] for parishioners' approval.” [Hex.Par.Mag. Sep 1906 p66]
“In August 1906, our kind supporter, C.W.C. Henderson, Esq., of the Riding, made a permanent loan to the Church in the form of an heirloom in his family, a fine picture of the Holy Family after Andrea del Sarto. This has been placed over the Communion Table…” [Savage & Hodges 1907 p.34]
According to a label, found on the stretcher, the painting was restored and possibly reframed by T.Rushworth and Son of Durham.
Donated 1908 by Mr C.W.C. and Mrs Henderson of The Riding, Acomb. He travelled widely so he may have bought the painting abroad or possibly from Mr Rushworth who was also an art dealer. [ANV 82 April 2008 p.17]
21/11/2006 – 25/06/2007: Painting conserved by Barbara Stabik, a final year Masters student at Northumbria University, School of Arts & Social Sciences, Burt Hall, Newcastle. Full Conservator's report, with treatment carried out in 2007 available. [HEXAB9030]
2007: Conservation and restoration of the Gilt moulded frame was carried out by Jude Proudlock at Haughton Castle. Holy Family: strengthening timber at back of frame [Raine, A J].
Composition popular. Several versions from the workshop of: Andrea del Sarto (1486–1531) [with Fra Bartolomeo] the most important painter in Florence when Raphael and Michelangelo active in Rome. Best painter, as opposed to draughtsman in 16th century Florence – more feeling for tone and colour than any contemporaries first to depart from coloured drawing in favour of composition by patches of coloured light and shade – actual draughtsmanship from Michelangelo – also borrowed from newly-arrived engravings of Dürer.
1518–1519 visited France at invitation of Francis I – well received but broke contract in order to return to his wife who in the opinion of contemporaries, ruined him. Browning's poem prob. best explanation of failure to live up to great promise but his works are of great importance in evolution of Florentine painting, especially the Holy Families, often in half length. Works in Louvre including some painted in France.
[P & L Murray Penguin Ref. Dictionary of Art & Artists 1959 pp.7–8]
Frame: 1540 × 1800 × 150
on display | on rood screen [HEXAB209] above reredos
Chancel/Presbytery
Faculty no.5818: 2006, 9 November. 1. To effect conservation work to the painting of the Holy Family which hangs over the High Altar. …



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