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Count Grigory Stroganov [1829-1910], Rome.[1] (Count Alessandro Contini-Bonacossi, Rome, 1927); purchased 1931 by the Samuel H. Kress Foundation, New York;[2] gift 1939 to NGA.

Exhibition History
Il Settecento italiano, Palazzo delle Biennale, Venice, 1929, no. 19.
An Exhibition of Italian Paintings Lent by Mr. Samuel H. Kress of New York to Museums, Colleges, and Art Associations, travelling exhibition, 24 venues, 1932-1935, mostly unnumbered catalogues, p. 46 or p. 52, repro.
Exhibition of Venetian Painting From the Fifteenth Century through the Eighteenth Century, California Palace of the Legion of Honor, San Francisco, 1938, no. 50, repro., as Saint Francis of Paola Resuscitating a Boy.
Tiepolo and His Contemporaries, The Metropolitan Museum of Art, New York, 1938, no. 2, repro., as Saint Francis of Paolo Resuscitating a Boy.
Venetian Paintings from the Samuel H. Kress Collection, Seattle Art Museum; Portland Art Museum, Oregon; Montgomery Art Museum, 1938, no cat.
Sebastiano Ricci, Villa Manin di Passariano, Udine, 1989, no. 69 (cat. by Aldo Rizzi).
Sebastiano Ricci. Il trionfo dell'invenzione nel Settecento veneziano., Exhibition Facilities, Ex Convitto, Island of San Giorgio Maggiore, Venice, 2010, no. 26, repro.
Frankfurter, Alfred M. "Eighteenth Century Venice in a New York Collection." The Fine Arts 19 (December 1932): 30.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 169, no. 182.
Book of Illustrations. National Gallery of Art, Washington, 1942: 243, repro. 177.
Pallucchini, Rodolfo. "Giunte a Sebastiano Ricci." Proporzioni 3 (1950): 214.
Palluchini, Rodolfo. "Studi Ricceschi I, Contributo a Sebastiano." Arte Veneta 6 (1952): 83.
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 232, repro.
Pallucchini 1960, 17, repro.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 114.
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 102, repro.
Daniels, Jeffery. "Sebastiano Ricci: The Last Phase." Apollo 90 (1969): 10, color pl. 2.
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 175.
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 128-129, fig. 255.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 304, repro.
Daniels, Jeffery. L'opera completa di Sebastiano Ricci. Milan, 1976: 137, no. 520, color pl. 62.
Daniels, Jeffery. Sebastiano Ricci. Hove, 1976: 153, no. 529-a, fig. 310.
Martini, Egidio. "Due bozzetti di Sebastiano Ricci e alcune osservazioni sulla sua tecnica pittorica." In Atti del Congress internationzale di studi su Sebastiano Ricci e il suo tempo. Milan, 1976: 37.
Pallucchini, Rodolfo. "Sebastiano Ricci e il rococò europeo." In Atti del Congresso internazionale di studi su Sebastiano Ricci e il suo tempo. Milan, 1976: 15-16.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: I:398-400, II:pl. 283.
Fornari Schianchi, Lucia. In Arte e Pietà. I patrimoni culturali delle opere pie. Exh. cat. Museo Civico, Palazzo Pepoli Campogrande, and Conservatorio del Baraccano. Bologna, 1980: 328.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 351, repro.
Cirillo, Giuseppe, and Giovanni Godi. La Pinacoteca Stuard di Parma. Parma, 1987: 146.
Tanzi, Marco. In Bozzetti, modelli e grisailles dal XVI al XVIII secolo. Exh. cat. Fondazione Lungarotti at Museo del Vino, Torgiano. Milan, 1988: 74.
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: 224-230, color repro. 227.
Technical Summary

The support is a medium-fine, plain-weave fabric. The warm yellow-white ground has a rough, pebbled texture and is exposed above the incised line that defines the arched top of the composition. The ground influences the overall tonality and texture of the surface design. The unfinished seraphim heads at the upper left were drawn directly on the ground with lines of semitransparent dark brown paint; it can be assumed that the entire composition was roughly blocked out in a similar manner. The thick, opaque paint was applied wet-into-wet, but without blending the individual strokes. These short, choppy strokes create a lively "brushed" surface texture without forming a heavy impasto. The shadows of the darker colors are built up with thick glazes. X-radiographs reveal that a reserve for Saint Francis' outstretched arm was left in the white robe of the turbaned figure.

The original tacking margins have been removed, but cusping is present along the left and bottom edges. Small, scattered losses are concentrated at the edges, which are partially overpainted. The varnish has darkened slightly. A file at the Frick Art Reference Library notes that the painting was relined in 1929. The Gallery's files report that Stephen Pichetto relined, removed discolored varnish, and restored the painting about 1931.