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Principe Giovanni-Battista del Drago [1860-1956], Rome, 1904.[1] Unknown [probably a dealer], Hamburg, 1905; Arthur Maier [d. 1935], Karlsbad.[2] (Steinmayer and Bourgeois, Paris); sold 16 October 1904 to (F. Kleinberger Galleries, Paris). [3] (Schaeffer Galleries, New York); purchased 1940 by the Samuel H. Kress Foundation, New York;[4] gift 1943 to NGA.

Exhibition History

Obras Maestras de la National Gallery of Art de Washington, Museo Nacional de Antropología, Mexico City, 1996-1997, unnumbered catalogue, 40-41, color repro.
La Serenissima : Eighteenth-Ventury Venetian Art from North American Collections, Oklahoma City Museum of Art, 2010-2011, no. 23, repro.
Picturing Mary: Woman, Mother, Idea, National Museum of Women in the Arts, Washington, 2014-2015.

Technical Summary

The support is a rather coarse, loosely woven plain-weave fabric. The ground consists of a thin, smooth layer of deep, rich yellow-orange. In the base layers the paint was applied as a slightly stiff paste and thus retains the texture of the brushstrokes. Thinner paint was applied over this with freer handling, as in the dark red glaze over the Madonna's mantle and for some linear details. These details are often drawn with black paint. X-radiographs show changes to the lower part of the composition as discussed in the text.

The original tacking margins have been removed, but cusping is visible on all four edges. Losses and abrasion are scattered throughout, mostly in the lower section where the blue undertone is visible. The painting was relined by Stephen Pichetto in 1941. Discolored varnish was removed and the painting restored during the 1941 treatment and in 1991-1992 by Jane Tillinghast.


Venturi, Adolfo. "Tre quadri della raccolta dei principi del Drago in Roma." L'Arte 7 (1904): 64.
Molmenti, Pompeo. G. B. Tiepolo. La sua vita e le sue opere. Milan, 1909: 310-311, repro. 315, as by Imitator of Giambattista Tiepolo.
Sack, Eduard. Giambattista und Domenico Tieopolo. Ihr Leben und Ihre Werke. Hamburg, 1910: 216, no. 477.
Molmenti, Pompeo. G. B. Tiepolo. Paris, 1911: 253, pl. 241, as by Imitator of Giambattista Tiepolo.
Kletzl, Otto. "Bilder der Sammlung Arthur Maier-Karlsbad." Belvedere 11 (1931):152, repro.
"Special Loan Exhibition. Venetian Painting of the Eighteenth Century." Bulletin of the City Art Museum of St Louis 21 (1936): 32-33, under no. 41.
Loan Exhibition of Paintings, Drawings, and Prints by the Two Tiepolos, Giambattista and Giandomenico. Exh. cat. Art Institute of Chicago, 1938: 23.
Frankfurter, Alfred M. The Kress Collection in the National Gallery. New York, 1944: 59, repro.
Friedmann, Herbert. The Symbolic Goldfinch. Its History and Significance in European Devotional Art. Washington, 1946: 63, 81, 84, 108-109, 158 pl. 110.
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 249, repro.
Shapley, Fern Rusk. Later Italian Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Six in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 36, color repro.
Morassi, Antonio. A Complete Catalogue of the Paintings of G. B. Tiepolo. London, 1962: 67, as by Giandomenico Tiepolo.
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 216, repro.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 127.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 114, repro.
Pallucchini, Anna. L'opera completa di Giambattista Tiepolo. Milan, 1968: 134, as Giandomenico Tiepolo.
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 198, as by Giandomenico Tiepolo.
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 152-153, fig. 287, as Studio of Giambattista Tiepolo.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 338, repro.
Fehl, Philipp. "Farewell to Jokes: The Last Capricci of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting." Critical Inquiry (1979): 773, fig. 211, as by Giandomenico Tiepolo (reprinted in Decorum and Wit..., Vienna, 1979).
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:457-458; 2:pl. 327, 327A, as Studio of Giambattista Tiepolo.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 389, repro.
Wheeler, Marion, ed. His Face--Images of Christ in Art, New York, 1988: 126, no. 17, color repro.
Mena Marqués, Manuela B. Museo del Prado. Catálogo de dibujos, 7: Dibujos italianos del siglo XVIII e del siglo XIX. Madrid, 1990: 142, under F.A. 707, as by Giandomenico Tiepolo.
Pressly, William L. "Goya's 'Don Manuel Osirio de Zúñiga.' A Christological Allegory." Apollo 136 (1992): 16, fig. 6.
Gemin, Massimo, and Filippo Pedrocco. Giambattista Tiepolo. Venice, 1993: 466, under no. 484, 514, no. 70, as mostly by Giandomenico Tiepolo.
Thiem, Christel. "Lorenzo Tiepolo as Draughtsman." Master Drawings 32, no. 4 (1994): 338-340, fig. 40.
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: 285-289, color repro. 287.

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