Beskrivning: Se beskrivning i den engelska versionen.

Catalogue raisonné: Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 126:

TECHNICAL NOTES: This tabernacle consists of seven painted
and gilded wooden boards, joined with hinges, forming a shrine
that can be closed. There are some cracks in the boards, following
the grain of the wood. The gesso ground is white and there is a layer
of red bole under the gilding. The outside of the shrine is painted
brown (not original). On the verso there are traces of the original
hinges. The figure of Christ is missing from the central panel. There
are many paint losses and the paint layer is very abraded. There
are some retouches.

PROVENANCE: Leon Ouroussoff, Vienna; Art dealer Gösta Stenman,
Stockholm; purchased 1933.

BIBLIOGRAPHY: Suida 1914; Sirén 1933, pp. 9–10; NM Cat. 1958,
p. 230 (as anonymous, 14th century); Ladis 1982, pp. 193–196, 205;
NM Cat. 1990, p. 416 (as anonymous, 14th century); Moench 1993,
p. 32; Skaug 1994, vol. I, p. 95; Larbiola 1998, p. 170.

This shrine is a triptych composed of a central
niche framed by two shutters. The central figure
is missing, but most probably the niche originally
contained a sculpture of the Madonna and Child,
fixed to the back with two wooden pins, with
the holes into which they fitted still visible in the
rear wall of the shrine. The construction is quite
unique and well preserved,¹ although the paintings
are worn and the figures somewhat difficult
to identify. The shrine consists of depictions of
angels and various saints. In the lower register we
can recognize St Elizabeth of Hungary and an
unknown princess, thought to be St Justina, St
Catherine of Alexandria and St Clare of Montefalco.
In the upper register there are four male
saints: St Louis of Toulouse, St Ranieri of Pisa,
St Anthony of Padua and finally a bishop saint,
possibly St Zenobius of Florence.²

Suida was the first to mention the shrine as
part of the collection of Prince Leon Ouroussoff,
Russian ambassador to Vienna, and he attributed
the work to Taddeo Gaddi.³ This attribution was
maintained by Sirén in his Italienska tavlor och
teckningar, published in 1933.⁴ Ladis is also of the
opinion that the shrine was painted by Taddeo
Gaddi, or more precisely by Taddeo and his workshop.
⁵ He further dates it to the early 1330s, a date
that is maintained by Skaug.⁶
je

1 Thanks to Laura Rivers and Yvonne Szafran of the John
Paul Getty Museum for important information concerning
the construction of the shrine.
2 Sirén 1933, p. 10.
3 Suida 1914, Monatshefte für Kunstwissenschaft. VII/1, 1914, p. 3.
4 Sirén 1933, pp. 90–91.
5 Ladis 1982, pp. 193–205.
6 Skaug 1994, I, p. 95. [End]

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