(Arthur Sambon, Paris). Benno Geiger [1882-1965], Vienna. (Count Alessandro Contini-Bonacossi, Florence) by 1929; purchased 1939 by the Samuel H. Kress Foundation, New York; gift 1943 to NGA.
- Golden Gate International Exposition, Palace of Fine Arts, San Francisco, 1940, no. 161.
- Paintings by Alessandro Magnasco, Durlacher Brothers, New York, 1940, no. 1.
- Alessandro Magnasco 1667-1749, Civico Museo d'Arte Contemporanea, Palazzo Reale, Milan, 1996, no. 43, repro.
- Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 119, no. 532, as Christ Calling Saint Peter.
- Book of Illustrations. National Gallery of Art, Washington, 1942: 250, repro. 142, as Christ Calling Saint Peter.
- Morandotti, Alessandro. Cinque pittori del settecento. Rome, 1943: 71.
- Geiger, Benno. Saggio d'un catalogo delle pitture di Alessandro Magnasco. Venice, 1945: 88.
- Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 141, repro., as Christ Calling Saint Peter.
- Evans, Grose. "The Subtle Satire of Magnasco." Gazette des Beaux-Arts, 6th ser., 32 (1947): 42, figs. 1, 3.
- Geiger, Benno. Magnasco. Bergamo, 1949: 87, 152-153.
- Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 103-105, repro., as Christ Calling Saint Peter.
- De Logu, Giuseppe. La natura morta italiana. Bergamo, 1962: 126.
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 81.
- Dürst, Hans. Alessandro Magnasco. Teufen, 1966: 24, 104, fig. 31.
- European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 71, repro.
- Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 117.
- Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 112, fig. 211.
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 208, repro.
- Franchini Guelfi, Fausta. Alessandro Magnasco. Genoa, 1977: 132-134, repro.
- Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: I:293-295, II:pl. 208.
- Grigoriva, Irina, and Asja Kantor-Gukouskja. I grandi disegni italiani delle collezioni dell'Ermitage di Leningrado. Milan, 1984: cat. 59.
- Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 344, no. 468, color repro.
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 241, repro.
- Franchini Guelfi, Fausta. Alessandro Magnasco. Soncino, 1991: 24.
- Muti, Laura. Alessandro Magnasco. Faenza, 1994: 267, nos. 390, 391 (repro.), as by Magnasco and Peruzzini.
- De Grazia, Diane, and Eric Garberson, with Edgar Peters Bowron, Peter M. Lukehart, and Mitchell Merling. Italian Paintings of the Seventeenth and Eighteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 178-184, color repro. 181.
The support is a medium-weight, plain-weave fabric. It was prepared with a grayish white ground, over which was applied a reddish brown imprimatura. A thin layer of dark brown patint was used to lay in the lower landscape, and the figures and other elemements were roughed in over it using unblended strokes of lead white paint. After the figures were completed, thick swaths of paint were applied with random strokes in the landscape area. Finally, impastoed highlights and details were added. The reddish brown imprimatura shows through in the sky and landscape, where it serves as a middle tone.
There are significant losses and abrasion throughout. The largest loss is to the right of Christ, encompassing most of his left side and all of his arm. The yellowed varnish is generally thick but thinner in lighter passages. The painting was relined, discolored varnish was removed, and the painting was restored by Stephen Pichetto in 1940. Most recently, discolored varnish was removed and the painting was restored by Mario Modestini in 1960.