Overview

No overview available.

Inscription

above the saint's halo: S[ANCTUS]; above the saint's shoulders: PAU LUS; on the lower frame below the worshippers: [ANNO DOMI]NI.MCCCXXXIII M...II.ESPLETUM FUIT H[O]C OPUS (1333... this work was finished)

Marks and Labels

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Provenance

The often-repeated statement in the earlier literature that the panel comes from the Florentine monastery of San Felice in Piazza[1] does not seem to be based on any secure, or at any rate documented, evidence. Perhaps more plausible, based at least on the identity of the saint, is the more recent proposal of a provenance either from the Florentine Ospedale di San Paolo or from the nearby church of San Paolino, since a handwritten annotation on an old photograph indicated its provenance “dai padri di San Paolino.”[2] Elia Volpi [1858–1938], Florence, by the early 1900s;[3] (his sale, American Art Galleries, New York, 21-27 November 1916, seventh day, no. 1040, as “Primitive school of Tuscany, early XVth century”); (Bourgeois Galleries, New York);[4] purchased January 1920 by (Duveen Brothers, Inc. London, Paris, and New York);[5] sold 15 December 1936 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh;[6] gift 1937 to NGA.

Exhibition History

1910
Palazzo Davanzati, Florence, between September 1910 and 1916.
1921
Loan Exhibition of Painting and Sculpture by Italian Artists of the Fourteenth, Fifteenth and Sixteenth Centuries, Cincinnati Art Museum, 1921, no catalogue.
1933
Sixteenth Loan Exhibition of Old Masters. Italian Paintings of the XIV to XVI Century, Detroit Institute of Art, 1933, no. 3.

Bibliography

1923
Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 3(1924):276, 277, 287, 290.
1931
Venturi, Lionello. Pitture italiane in America. Milan, 1931: no. 27, repro.
1933
Venturi, Lionello. Italian Paintings in America. 3 vols. Translated by Countess Vanden Heuvel and Charles Marriott. New York and Milan, 1933: 1:no. 34, repro.
1941
Duveen Brothers. Duveen Pictures in Public Collections in America. New York, 1941: no. 12, repro., attributed to Giotto, as St. Paul with Twelve Adorers.
1941
National Gallery of Art. Book of Illustrations. Washington, DC, 1941: 114 (repro.), 233.
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 80-81, no. 3, as by Follower of Giotto.
1941
Richter, George Martin. "The New National Gallery in Washington." The Burlington Magazine for Connoisseurs 78 (June 1941): 177 n. 3.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 116, as by Follower of Giotto.
1949
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 7, repro., as by Follower of Giotto.
1951
Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 23 n. 1.
1951
Galetti, Ugo, and Ettore Camesasca. Enciclopedia della pittura italiana. 3 vols. Milan, 1951: 2:1604, 1606.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 297, repro., as by Follower of Giotto.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 36.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 29, repro.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 63, 437, 645.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 90, repro.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: I:152-153, II:pl. 107
1982
Tambini, Anna. Pittura dall’Alto Medioevo al Tardogotico nel territorio di Faenza e Forlì. Faenza, 1982: 112.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 73, no. 12, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 111, repro.
1994
Skaug, Erling S. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting with Particular Consideration to Florence, c. 1330-1430. 2 vols. Oslo, 1994: 1:99, 108, 110 n. 174; 2:punch chart 5.3.
2004
Strehlke, Carl Brandon. Italian Paintings, 1250-1450, in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, 2004: 102 n. 4.

Technical Summary

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