Overview

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Inscription

Marks and Labels

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Provenance

Chevalier Alexandre de Lestang-Parade, Aix-en-Provenance, by 1823.[1] Count Melchoir de Lestang-Parade, Aix-en-Provence; (sale, Hôtel Drouot, Paris, 19-20 May 1882, nos. 105, 106, as anonymous fifteenth century). Baron Etienne Martin de Beurnonville [d. 1881], Paris; (sale, Hôtel Drouot, Paris, 21-22 May 1883, nos. 43, 44, as Burgundian School, fifteenth century). M. Watel, Paris, 1883.[2] (Paris art market, by 1937.)[3] (Wildenstein and Co., Paris and New York, 1938-1946;) purchased 1946 by Samuel H. Kress Foundation, New York; gift 1952 by exchange to NGA.

Exhibition History

1951
Wildenstein Jubilee Loan Exhibition 1901-1951: Masterpieces from Museums and Private Collections, Wildenstein & Co., New York, 1951, no. 11, repro.
2010
France 1500: Entre Moyen Age et Renaissance, Galeries nationales du Grand Palais, Paris; Art Institute of Chicago, 2010-2011, no. 178 (Paris) and no. 33 (Chicago), repro.

Bibliography

1823
[Porte, Jean-Baptiste-François]. Aix ancien et moderne, ou Description des Édifices sacrés et profanes, Établissemens, Monumens antiques, du moyen âge et modernes,... Aix-en-Provence, 1823: 147.
1841
Gaszynski, C. In Mémorial d'Aix (13 June, 1841): 2.
1883
Champeaux, Alfred de. "Deux vues de la Cité de Paris au XVe siècle." La Chronique des Arts et de la Curiosité no. 23 (1883): 186-187.
1905
Reinach, Salomon. Répertoire de peintures du moyen âge et de la Renaissance (1280-1580). 2 vols. Paris, 1905-1923: 2(1907):744, no. 2, repro.
1907
"Meister des hl. Agidius." In Thieme-Becker. 37 vols. Leipzig, 1907-1950: 37(1950):6-7.
1912
Friedländer, Max J. "Der Meister des hl. Ägidius." Amtliche Berichte aus den königl. Kunstsammlungen 34 (1912/1913): 187-188.
1921
Conway, Martin. The Van Eycks and their Followers. London, 1921: 190.
1931
Lemoisne, Paul André. Die gotische Malerei Frankreichs vierzehntes und fünfzehntes Jahrhundert. Leipzig, 1931: 113.
1932
Held, Julius S. "Zwei Ansichten von Paris beim Meister des heiligen Ägidius." Jahrbuch der königlich Preussischen Kunstsammlungen (Jahrbuch der Berliner Museen) 53 (1932): 3-4, 10-15, fig. 2.
1934
Jong, Johannes Assuerus Bernardus Maria de. Architectuur bij de nederlandsche schilders vóór de hervorming. Amsterdam, 1934: 54.
1937
Friedländer, Max J. "Le Maître de Saint-Gilles." Gazettte des Beaux Arts 17 (1937): 223-231, figs. 6, 10.
1938
Dimier, Louis. "Les primitifs français." Gazette des Beaux-Arts 20 (1938): 234-235.
1938
Sterling, Charles. La peinture française: les primitifs. Paris, 1938: 135, fig. 170.
1939
National Gallery, London. Supplement to the 1929 Catalogue Including Accessions to the End of 1937. London, 1939: 27.
1939
Réau, Louis. La peinture française du XIVe au XVIe siècle. Paris, 1939: 14, fig. 10.
1942
Sterling, Charles. Les peintres du moyen âge. Paris, 1942: 51, 64, pl. 140.
1944
Luttervelt, R. van. "Chineesche zijden stoffen en tapijten in Europa in vroeger eeuwen." Maandblad voor beeldene Kunsten 20 (1944): 45-46, fig. 1.
1945
Davies, Martin. National Gallery Catalogues. Early Netherlandish School. London, 1945: 71-72 (2d ed. 1955: 82-83; 3d ed. 1968: 108-109).
1946
Davies, Martin. Paintings and Drawings on the Backs of National Gallery Pictures. London, 1946: xi.
1949
Hébert, Michèle. "Les monuments parisiens dans l'oeuvre du Maître de Saint Gilles." Fédération des sociétés historiques et archéolog. de Paris et de l'Ile-de-France. Mémoires 1 (1949): 213-214, 231-235, pl. 11.
1949
Ring, Grete. A Century of French Painting 1400-1500. London, 1949: 33, 230, no. 240a, fig. 40.
1951
Frankfurter, Alfred M. "Interpreting Masterpieces: Twenty-four Paintings from the Kress Collection." Art News 50 (1951): 112-113, repro. 107.
1951
Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1945-1951. Introduction by John Walker, text by William E. Suida. National Gallery of Art, Washington, 1951: 186-189, no. 83, repro.
1954
Tietze, Hans. Treasures of the Great National Galleries. New York, 1954: 123-124, pl. 197.
1956
Walker, John. National Gallery of Art, Washington. New York, 1956: 36, color repro.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 332, repro.
1959
Réau, Louis. Iconographie de l'art chrétien. 3 vols. Paris, 1955-1959: 3, part 3(1959):1146.
1960
The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 4.
1961
Seymour, Charles Jr. Art Treasures for America. London, 1961: 66-67, 202, 218, fig. 60.
1962
Cairns, Huntington, and John Walker, eds., Treasures from the National Gallery of Art, New York, 1962: 64, color repro.
1963
Châtelet, Albert, and Jacques Thuillier. French Painting from Fouquet to Poussin. Geneva, 1963: 92-93.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 108, repro.
1965
Hinkle, William M. "The Iconography of the Four Panels by the Master of Saint Giles." Journal of the Warburg and Courtauld Institutes 28 (1965): 110, 113-124, 127, 129-130, 139-144, pls. 21g-h, 22b-c, 25A-B.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 87
1966
Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:92-93, color repro.
1966
Laclotte, Michel, Primitifs français. Paris, 1966: 45, pl. 36.
1968
European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 76, no. 1098, repro.
1973
Montesquiou-Fezensac, Blaise de, and Danielle Gaborit-Chopin. Le Trésor de Saint-Denis. 3 vols. Paris, 1973/1977: 105, pl. 93a.
1973
National Gallery, London. Illustrated General Catalogue. London, 1973: 444.
1975
European Paintings: An Illustrated Summary Catalogue (National Gallery of Art). Washington, 1975: 224-225, no. 1098, repro.
1977
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 241-243, fig. 231, text fig. 53.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 140, no. 140, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 257, repro.
1986
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 169-176, color repro. 168.
1998
Denny, Don. "Baptism." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 1:107.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 74-75, no. 54, color repro.
2005
The Arts of France from François Ier to Napoléon Ier. A Centennial Celebration of Wildenstein's Presence in New York. Exh. cat. Wildenstein & Co., Inc., New York, 2005: 50, fig. 1, 71 (not in the exhibition).
2011
Mullally, Evelyn. Guide de Paris au Moyen Age. Paris, 2011: 110-111, color repro.

Technical Summary

Like 1952.2.14, the panel was thinned and cradled sometime before 1937, leaving no traces of the grisaille formerly on the back. There are two vertical joins approximately 15 and 30 cm in from the left edge and a split approximately 39 cm from the left edge. These correspond to the joins and split on the grisaille of Saint Denis, presumably destroyed. The paint surface is in good condition. There is some fill and inpainting along the split where it extends down through the head of the priest holding the bishop's robe. There are many scattered small losses in the paint and ground layer, with a larger loss in the lower right corner. Rather extensive abrasion has resulted in the loss or breaking up of some of the fine highlights and transparent glazes in areas such as the heads of the priests at the right and of the king, queen, and man to her left. Two small losses, to the left of the left eye and beside the right eyebrow of the queen, have probably not altered her expression unduly.[1] The somewhat disturbed appearance of the surface is due in part to extraordinarily extensive changes in every area of the painting, including a complete reworking of the setting and a repositioning of the heads of most of the foreground figures. These changes were made at all stages of the painting process, in the underdrawing and in the lower and upper paint layers.


[1] Eisler 1977, 242, suggested that her dour expression was due to restoration.

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