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The Madonna and Child with the Infant St. John (oil on wood)
Editorial (Books, magazines and newspaper) - extended
Print and/or digital. Single use, any size, inside only. Single language only. Single territory rights for trade books; worldwide rights for academic books. Print run up to 5000. 7 years. (excludes advertising)
$175.00
Editorial (Books, magazines and newspaper) - standard
Print and/or digital. Single use, any size, inside only. Single language only. Single territory rights for trade books; worldwide rights for academic books. Print run up to 1500. 7 years. (excludes advertising)
$100.00
Corporate website, social media or presentation/talk
Web display, social media, apps or blogs.
Not for advertising. All languages. 1 year + archival rights
$190.00
Personal website, social media or presentation/talk
Web display, social media, apps, or blogs. Use in academic and non-commercial presentations/talks included. Not for commercial use or advertising. All languages. 5 years
$50.00
Personal products
Personal Prints, Cards, Gifts, Reference. 5 year term. Not for commercial use, not for public display, not for resale. example: For use on birthday cards sent to family members.
copy of a lost fresco; painted for Porta a Pinti
The Virgin is seated on a rocky bank. She wears a rose coloured dress and over her head is a light purple mantle; on her shoulders rests a pale green scarf, and a deep purple cloak lies in her lap. She supports the Child with both arms. Behind and to the right is the infant Saint John who is laughing; he wears a loin-cloth and holds a cross. In the background to the right is a building, and on a high wall to the left stand two doves.This is a copy of a fresco which Andrea del Sarto painted for an outdoor tabernacle just outside the Porta a Pinti in Florence, on a corner leading to the Church of the Gesuati (San Giusto alle Mura). The fresco was painted around 1520 and was about two metres high with a rounded top. This copy in oil is therefore much reduced. The original painting was situated above eye level, which explains why the holy figures look down at us. The outdoor setting meant that the fresco was reduced to a ruinous condition by the 19th century, leaving this work as an important record.