National Gallery of Art :: The Collection :: The Coronation of the Virgin
  • Inscription
  • Provenance
  • Bibliography

Overview

No overview.

Inscription

lower center: MCCCXXIIII

Marks and Labels

null

Provenance

Antonio Dal Zotto [1841–1918], Venice.[1] Dr. J. Carl [or Carlo?] Broglio, Paris;[2] purchased jointly 27 July 1950 by (Thos. Agnew and Sons, Ltd., London) and (Rudolf Heinemann, New York); Agnew share sold to (Rudolf Heinemann, New York); (M. Knoedler and Co., New York);[3] purchased February 1952 by the Samuel H. Kress Foundation, New York;[4] gift 1952 to NGA.

[1] On the life and career of the sculptor Dal Zotto see Livia Alberton Vinco da Sesso, "Antonio dal Zotto," in Dizionario Biografico degli Italiani, 77 vols., Rome, 1960-: 32(1986): 285–287. In 1889 Dal Zotto married Ida Lessjak, widow of the photographer Carlo Naya, and after her death in 1893 Dal Zotto became owner of Naya’s successful firm specializing in views of Venice and reproductions of works of art. According to Alberton Vinco da Sesso, Naya had also amassed a collection of ancient statuary, and it cannot be excluded that the Gallery’s painting actually came from the photographer’s collection. Nonetheless, the catalogue of the sculptor’s estate sale, Collezione del fu Comm. Antonio del Zotto e già Giuseppe Piccoli (Geri-Salvadori, Venice, 1-16 September 1919), does not cite the painting, which perhaps had already been sold.

[2] Michelangelo Muraro, Paolo da Venezia, Milano, 1969: 157, transmits the reported provenance of the painting from the Broglio collection, annotated on a photograph in the photographic archive of the Biblioteca Berenson at the Villa I Tatti, Florence. The Agnew stockbooks record the painting as no. J0332 and identify the Broglio family member from whom it was purchased.

[3] The Agnew records (kindly confirmed by Venetia Constantine of Agnew’s, e-mail, 28 June 2010, in NGA curatorial files) give details about the joint purchase and indicate that Agnew’s share in the painting was sold to Heinemann on 16 June 1952, several months after the February date of the Knoedler bill of sale to the Kress Foundation (see note 4). Constantine speculates that Agnew might have recorded the date when payment for their share was actually received from Heinemann, rather than the date when they made the decision to sell their share. Heinemann often worked in tandem with Knoedler’s, for whom he was at one time managing partner, and may have done so in this instance.

[4] The bill of sale from Knoedler’s to the Kress Foundation for twelve paintings, including this one, is dated 6 February 1952 (copy in NGA curatorial files); payment was made in three installments, the final one on 5 September 1952.

Exhibition History

Bibliography

1923
Marle, Raimond van. The Development of the Italian Schools of Painting. The Hague, 1923-1938: 4(1924):5. repro. fig. 2.
1930
Vavalà, Evelyn Sandberg. "Maestro Paolo Veneziano." The Burlington Magazine 131 (October 1930):165
1935
Bettini, Sergio. "Aggiunte a Paolo Veneziano." Bollettino d'Arte X (April 1935):476, repro.
1956
Paintings and Sculpture from the Kress Colllection Acquired by the Samuel H. Kress Foundation 1951-56. Introduction by John Walker, text by William E. Suida and Fern Rusk Shapley. National Gallery of Art. Washington, 1956: 138, no. 53, repro.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 27, repro.
1963
Walker, John. National Gallery of Art, Washington, D.C.. New York, 1963 (reprinted 1964 in French, German, and Spanish): 297, repro.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 99
1966
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 7-8, fig. 13.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 87, repro.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 260, repro.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: I:327-328, II:pl. 237
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 67, no. 7, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 300, repro.
1993
Humfrey, Peter. "The Prehistory of Titian's Assunta." Studies in the History of Art 45 (1993): 230-231.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 10, no. 4, color repro.

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