National Gallery of Art - THE COLLECTION
image of Two Women at a Window Bartolomé Esteban Murillo (artist)
Spanish, 1617 - 1682
Two Women at a Window, c. 1655/1660
oil on canvas
overall: 125.1 x 104.5 cm (49 1/4 x 41 1/8 in.) framed: 182.3 x 160.3 cm (71 3/4 x 63 1/8 in.)
Widener Collection
On View
From the Tour: Spanish Painting in the Seventeenth Century
Object 6 of 7


Pedro Francisco Luján y Góngora, Duque de Almodóvar del Rio, Madrid;[1] his heirs, by whom sold in 1823 to William A'Court, later 1st Baron Heytesbury [1779-1860], Heytesbury, Wiltshire;[2] by descent to his eldest son, William Henry Ashe, 2nd Baron Heytesbury [1809-1891]; by descent to his grandson, William Frederick Ashe, 3rd Baron Heytesbury [1862-1903]; sold in 1894 to (Stephen T. Gooden, London);[3] purchased 3 December 1894 by P. A. B. Widener [1834-1915], Elkins Park, Pennsylvania;[4] inheritance from the Estate of Peter A. B. Widener by gift through power of appointment of Joseph E. Widener [1860-1943], Elkins Park.[5]

[1] For this provenance see William Stirling-Maxwell, Annals of the Artists of Spain, 3 vols. (London, 1848), 2:920, note 2, who presumably had the information from Baron Heytesbury (d. 30 May 1860). Heytesbury was ambassador extraordinary in Madrid in 1822-1823. Pedro Francisco Luján y Góngora, Duke of Almodóvar del Rio (1728-1794) was a Spanish diplomat and man of letters. The ownership is established by the inscription on an undated print after the painting by Joaquín Ballester, which employs the present tense: "Quadro original de Bartolomé Murillo que posee el Excmo. Sr. Duque de Almodóvar," repro. Diego Angulo Iñiguez, "Quelques tableaux de Murillo. Les femmes a la fenêtre de Murillo, de la Galerie Nationale de Washington." Evolution générale et developpements regionaux en histoire de l'art. (Budapest, 1972), fig. 2. Gustav F. Waagen, Galleries and Cabinets of Art in Great Britain, 3 vols. and supplement (London, 1857), 389, mistakenly gives the provenance as the family of the count of Altamira. Duncan Kinkead, "The Picture Collection of Don Nicolas Omazur", Burlington Magazine 128 (1986): 353 posits that the picture is identical to one in the 1703 inventory of the Sevillian painter, Matías Arteaga. However, the entry does not give the name of the artist and mentions only a single woman--"Un lienzo de vara y medio de alto de una mujer asomada a ventana" ("A canvas is a vara and a half high of a woman looking out of a window"). In a 7 September 1986 letter to ??, Professor Kinkead states that the same picture is mentioned in Arteaga's capital (possessions of husband at marriage) of 1680, where the estimated value, in his opinion, "is simply too low for it to have been an original by Murillo." [2] Burke's Peerage (London, 1967): 1247-1248. [3] Gooden's name is found in the manuscript copy of the Widener catalogue. [4] Records from Edith Standen's (Widener's secretary) Lynnewood Hall card file, NGA curatorial files. [5] Paintings in the Collection of Joseph Widener (1923), n.p.

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