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European Art
Artist: Master of Charles of Durazzo (possibly Francesco di Michele), Italian, active 1381–1400

Amorous Hunt

early 15th century

Tempera on panel

other: 56.88 cm (22 3/8 in.)
Gift of Hannah D. and Louis M. Rabinowitz
Made in Florence, Italy
Not on view
Italian, Florence
15th century

Rabinowitz Collection, Sands Point, Long Island, before 1945-1959. Probably purchased by Rabinowitz from E.A. Silberman Galleries, NY, whose label was formerly on the back of the panel.


Louis M. Rabinowitz, Rabinowitz Collection (New York: The Twin Editions, 1945), 19.

Yale University Art Gallery, Yale University Art Gallery Bulletin, 26, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1960), 53.

Charles Seymour Jr., The Rabinowitz Collection of European Paintings (New Haven, Conn.: Yale University Press, 1961), 20–21, 54.

Charles Seymour Jr. and Everett Fahy, Annotated copy of Charles Seymour, Jr. Early Italian Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1970), .

Charles Seymour Jr., Early Italian Paintings in the Yale University Art Gallery: A Catalogue by Charles Seymour, Jr. (New Haven, Conn.: Yale University Press, 1970), 135–37, no. 93.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 222; 601.

Everett Fahy, “Review of Early Italian Paintings in the Yale University Art Gallery,” Art Bulletin 56, no. 2 (June 1974): 283–285.

Paul F. Watson, Garden of Love in Tuscan Art of the Early Renaissance (Philadelphia: Philadelphia, 1979), 93–95, 105.

M Friedman, “The Falcon and the Hunt,” Moshe Lazar and Norris J. Lacy. The Poetics of Love in the Middle Ages (1989): 165–69.

Miklos Boskovits, “Il Maestro di Incisa Scapaccino e alcuni problemi di pittura tardogotica in Italia,” Pargone 501 (1991): 35–53, note 14.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.