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Possibly the Manfrin collection, Palazzo Venier, Venice.[1] (Count Alessandro Contini Bonacossi, Florence), by 1937; purchased 1939 by the Samuel H. Kress Foundation, New York;[2] gift 1943 to NGA.

Exhibition History

Sebastiano Ricci, Villa Manin di Passariano, Udine, 1989, no. 37, color repro. (cat. by Aldo Rizzi).
Venedigs Ruhm im Norden, Forum des Landesmuseums Hannover, Hannover; Kunstmuseum Düsseldorf im Ehrenhof, Düsseldorf, 1991-1992, no. 68, repro.
Venice in Canaletto's Age, The John and Mable Ringling Museum of Art, Sarasota; Memphis Brooks Museum of Art, 2009-2010, no catalogue.

Technical Summary

The support is a loosely woven, medium-weight, plain-weave fabric. The moderately thick ground is white. Infrared reflectography reveals that the architectural surround overlaps the figure composition, partially obscuring the figure exiting at the left and completely hiding a seated figure at the right. Minor pentimenti, such as small changes in the hand on the left side of the table and in the right contour of Judas' right elbow, are also revealed by infrared reflectography. The composition inside the frame was blocked in with opaque, fluid paint in broad, flat areas. Slightly more full-bodied paint was applied over this underlayer for details, ornamentation, and architectural elements. Daubs of somewhat pastose paint, quickly and surely applied, define the features, musculature, and clothing. The most prominent are daubs of white that constitute the brightest highlights. The application of the darker valued colors in thin layers or glazes contrasts with the thicker application of the lighter valued colors.

The presence of cusping, most pronounced at the top and bottom, suggests that while the tacking margins have been removed, the composition has not been cropped. Inpainting over the scattered abrasions and losses, most concentrated at the edges, has become discolored. The more severe damages in the lower-left volute and at the forward corner of the table may have resulted from tears in the original support. The varnish is moderately thick, but clear. The painting was relined, discolored varnish was removed, and the painting was restored by Stephen Pichetto in 1940.


Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 169, no. 533.
Book of Illustrations. National Gallery of Art, Washington, 1942: 250, repro. 176.
Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 140, repro.
Osti, Ornella. "Sebastiano Ricci in Inghilterra." Commentari 2 (1950): 123, n. 1.
Pallucchini, Rodolfo. "Studi Ricceschi I, Contributo a Sebastiano." Arte Veneta 6 (1952): 77-78, repro.
Watson, Francis J. B. "English Villas and Venetian Decorators." Journal of the Royal Society of the Institute of British Architects 61 (1954): 174, repro.
Ghidiglia Quintavalle, Augusta. "Premesse giovanile di Sebastiano Ricci." Rivista archeologica, 1956-1957: 85, fig. 19 (reprinted in San Secondo: Arte storia attualità. Parma, 1970.
Millar, Oliver, and Margaret Whinney. English Art 1625-1714. The Oxford History of English Art 8. Oxford, 1957: 310, pl. 82.
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 230, repro.
Croft-Murrary, Edward. Decorative Painting in England 1587-1837. 2 vols. London, 1962; Feltham, 1970: 2:15, 266.
Garas, Klára. "New Documents Concerning Sebastiano Ricci." The Burlington Magazine 106 (1964): 131.
Martini, Egidio. La pittura veneziana del settecento. Venice, 1964: 161, n. 46.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 114.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 102, repro.
Zampetti, Pietro. Dal Ricci al Tiepolo. Exh. cat. Palazzo Ducale, Venice, 1969: 28.
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 175.
D'Arcais, Francesca. "I complessi decorativi fiorentini di Sebastiano Ricci III." Saggi e Memorie di Storia dell'Arte 12 (1973): 10-11, 13, fig. 11.
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 127-128, fig. 250.
Simon, John. English Baroque Sketches. Exh. cat. Marble Hill House, Twickenham. London, 1974: unpaginated, no. 71.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 306, repro.
Daniels, Jeffery. L'opera completa di Sebastiano Ricci. Milan, 1976: 118, no. 325, repro.
Daniels, Jeffery. Sebastiano Ricci. Hove, 1976: 40, 117, 153, no. 530, fig. 122.
Daniels, Jeffery. "Sebastiano Ricci in England." Atti del Congresso internazionale di studi su Sebastiano Ricci e il suo tempo. Milan, 1976: 72, fig. 55.
Pilo, Giuseppe Maria. Sebastiano Ricci e la pittura veneziana del settecento. Pordenone, 1976: 98 n. 156, 99 n. 159.
Works by Sebastiano Ricci from British Collections. Exh. cat. P. & D. Colnaghi & Co., Ltd., London, 1978: unpaginated, no. 11.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:400-402; 2:pl. 285.
Christiansen, Keith. "The Baptism of Christ." Metropolitan Museum of Art: Notable Acquisitions 1981-82. New York, 1982: 42.
Aikema, Bernard. "Proposte per Sebastiano Ricci e per Nicola Grassi." Nicola Grassi e il Rococò europeo. (Atti del Congresso internazionale di Studi, 20-22 maggio 1982.) Udine, 1984: 95, fig. 97.
Daniels, Jeffery. "Grassi: Direct or Indirect?" Nicolas Grassi e il Rococò europeo. (Atti del Congresso internazionale di Studi, 20-22 maggio 1982.) Udine, 1984: 109.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 351, repro.
Scarpa Sonino, Annalisa. Marco Ricci. Milan, 1991: 22-25, repro.
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: 230-236, color repro. 233.

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