National Gallery of Art :: The Collection :: Saint Francis Receiving the Stigmata
  • Provenance
  • Exhibition History
  • Bibliography

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Provenance

Main altar of the church of Santa Lucia de' Magnoli, Florence, probably until the early 18th century.[1] Sacristy of the same church, by 1728.[2] Third altar on the right of the nave of the same church, by 1762 and probably until the early 1800s.[3] Possibly Osvald Sirén [1879-1977], Stockholm; purchased 6 May 1921 by (Julius Böhler, Munich);[4] sold 17 September 1921 to (Count Alessandro Contini-Bonacossi, Rome and Florence);[5] purchased December 1933 by the Samuel H. Kress Foundation, New York;[6] gift 1939 to NGA.

[1] The altarpiece is cited as being on the main altar (erroneously, as a work of Andrea del Castagno) by Giovanni Cinelli in Francesco Bocchi, Le bellezze della città di Firenze, ed. Giovanni Cinelli, Florence, 1677 (originally 1591): 280, reprinted Bologna, 1973. It was probably moved on the occasion of restoration work done in the church between 1712 and 1715 (see W. and E. Paatz, Die Kirchen von Florenz, Frankfurt am Main, 1941: 2:607).

[2] Cited as being there by Filippo Baldinucci, Notizie dei professori del disegno da Cimbaue in qua, ed. F. Ranalli, 5 vols., Florence, 1845-1847 (originally 6 vols., 1681-1728): 3:95 n. 1.

[3] The altarpiece was described there by both Giuseppe Richa, Notizie istoriche della chiese fiorentine), 10 vols., Florence, 1754-1762: 10(1762): 294, and Vincenzo Follini and Modesto Rastrelli, Firenze antica e moderna, 8 vols., Florence, 1789-1802: 8(1801):254). Among early writers, Luigi Lanzi (Storia pittorica della Italia, 3 vols., Bassano, 1795-1796: 1(1975):58) is the only one who mentions the predella, which at that time must still have been attached to the main panel. The fact that in 1827 the usually careful Rumohr, the first to read and transcribe the signature of Domenico Veneziano on the altarpiece, did not mention the predella, leads one to suppose that by this date it was no longer in the church. See Carl Friedrich von Rumohr, Italienische Forschungen, 3 vols., ed. by J. von Schlosser, Frankfurt am Main, 1920 (originally Berlin, 1827-1831): 387. In fact, Rumohr presumably saw the panel during his second stay in Italy, between 1816 and 1820. (See E. Sigismund, "R.C.F. Freiherr von Rumohr," in Ulrich Thieme, Felix Becker, and Hans Vollmer, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, 37 vols. Leipzig, 1907-1950: 29[1935]:202, reprinted 1970-1971.)

[4] According to the Getty Provenance Index, the NGA painting is probably the same painting as a "Picture of Two Saints. Stigmatizing of St. Francis in a hilly mountain landscape," listed in the Böhler records as acquired from Sirén on that date. Roberto Longhi ("Un frammento della pala di Domenico Veneziano per Santa Lucia de'Magnole," L'Arte 28 [1925]: 31-35, reprinted in Edizione delle opera complete di Roberto Longhi, 14 vols., Florence and Milan, 1956-2000: 2[1967]) and other writers of the 1920s indicate the painting as belonging to Böhler. It was presumably also for Böhler that Georg Gronau wrote his expertise, dated 10 August 1921 (copy in NGA curatorial files), recognizing the authorship of Domenico Veneziano.

[5] A. Chiapelli, "Una nuova opera di Domenico Veneziano," L'Arte 27 (1924): 93 note 6, is wrong in stating that the panel was "recently acquired by Longhi in Germany"; Longhi himself (1925: 31) states clearly that the purchaser was, on his advice, Count Contini-Bonacossi. Contini lent the picture to the 1930 exhibition in London.

[6] The bill of sale for the painting is dated 27 December 1933 (copy in NGA curatorial files).

Exhibition History

1930
Exhibition of Italian Art 1200-1900, Royal Academy of Arts, London, 1930, no. 128 (no. 111 and pl. XLII in commemorative catalogue published 1931; no. 29 in souvenir catalogue).
1935
Exhibition of Italian Paintings of the Renaissance, The Century Association, New York, 1935, no. 5.
1936
The Twentieth Anniversary Exhibition of the Cleveland Museum of Art. The Official Art Exhibit of the Great Lakes Exposition, Cleveland Museum of Art, 1936, no. 149, repro.
1992
Una scuola per Piero. Luce, colore e prospettiva nella formazione fiorentina di Piero della Francesca, Galleria degli Uffizi, Florence, 1992-1993, no. 11b, repro.

Bibliography

1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 57.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 244, repro. 98.
1945
Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 29, repro.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 58, repro.
1961
Seymour 1961 (Kress), 34-35, color repro. pl. 29
1963
Walker, John. National Gallery of Art, Washington, D.C.. New York, 1963 (reprinted 1964 in French, German, and Spanish): 298, repro.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 42
1966
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 103, fig. 279.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 35, repro.
1974
Pesenti, Franco Renzo. "Dismembered works of art - Italian painting." In An Illustrated Inventory of Famous Dismembered Works of Art: European Painting. Paris, 1974: 22, 36-37, repro.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 108, repro.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: I:158, II:pl. 113
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 90, no. 50, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 131, repro.
2003
Boskovits, Miklós, and David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, D.C., 2003: 241-250, color repro.

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