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Provenance

Possibly executed 1501 for the church of San Domenico in Bologna, where it probably remained on the altar of the Casali chapel as part of the predella of the altarpiece (still in situ) until the late 1720s.[1] privately owned, probably by the Isolani family, Bologna; sold c. 1900 to (Charles Fairfax Murray [1849-1919], London and Florence) on joint account with (Haskard and Co., London); sold 18 December 1901 to (Thomas Agnew & Sons, Ltd., London);[2] sold 13 February 1902 to Robert Henry [1850-1929] and Evelyn Holford [1856-1943] Benson, London and Buckhurst Park, Sussex; sold 1927 with the Benson collection to (Duveen Brothers, Inc., London and New York);[3] sold to Frederick Housman, New York, by 1931;[4] sold to (Frederick Mont, New York); sold 30 January 1952 to the Samuel H. Kress Foundation, New York;[5] gift 1952 to NGA.

Exhibition History

1902
A Collection of Paintings, Drawings, Bronzes and Decorative Furniture, Burlington Fine Arts Club, London, 1902, no. 49, as Pietà. Christ in the Tomb, Supported by Joseph of Arimathaea; Two Angels with the Crown of Thorns and Nails.
1908
Exhibition of Works by the Old Masters. Winter Exhibition, Royal Academy of Arts, London, 1908, no. 27.
1919
Exhibition of Florentine Painting before 1500, Burlington Fine Arts Club, London, 1919, no. 10 (no. 10 and pl. X in illustrated catalogue published 1920).
1927
Loan Exhibition of the Benson Collection of Old Italian Masters, City of Manchester Art Gallery, 1927, no. 109, as Pieta: St. Joseph of Aremathea and Two Angels.
1979
Berenson and the Connoisseurship of Italian Painting, National Gallery of Art, Washington, D.C., 1979, no. 99.
1997
The Drawings of Filippino Lippi and his Circle, The Metropolitan Museum of Art, New York, 1997-1998, no. 111, repro.
2004
Botticelli and Filippino. Passion and Grace in Fifteenth-Century Florentine Painting, Palazzo Strozzi, Florence, 2004, no. 58, repro.
2011
Filippino Lippi e Sandro Botticelli nella Firenze del '400, Scuderie del Quirinale, Rome, 2011-2012, no. 47, repro.

Bibliography

1901
Venturi, Adolfo. Storia dell’arte italiana. 11 vols. Milan, 1901-1940: 7(1911):674 n. 1.
1903
Berenson, Bernard. The Drawings of the Florentine Painters. 2 vols. London, 1903: 2:74.
1907
Cust, Lionel. “La Collection de M. R. H. Benson (Londres).” Les Artes 70 (1907): 26.
1907
Gronau, Georg. “Lippi, Filippino.” In Ulrich Thieme, Felix Becker, and Hans Vollmer, eds. Allgemeines Lexikon der Bildenden Künstler von der Antike bis zum Gegenwart. 37 vols. Leipzig, 1907-1950: 23(1929): 270.
1907
Schleinitz, O. von. “Die Winteraustellung in der Londoner Akademie.” Kunstchronik 19, no. 22 (1907-1908): 370-371.
1914
Borenius, Tancred. Catalogue of Italian Pictures at 16 South Street, Park Lane, London and Buckhurst in Sussex Collected by Robert and Evelyn Benson. London, 1914: no. 31.
1917
“Auctions.” The Burlington Magazine for Connoisseurs 30, no. 171 (1917): 244.
1919
Phillips, Claude. “Florentine Art before 1500.” The Burlington Magazine for Connoisseurs 34 (1919): 216.
1923
Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 12(1931):312-314.
1932
Berenson, Bernard. Italian Pictures of the Renaissance. Oxford, 1932: 286.
1932
Bodmer, Heinrich. “Der Spätstil des Filippino Lippi.” Pantheon 9 (1932): 353.
1933
Venturi, Lionello. Italian Paintings in America. 3 vols. New York and Milan, 1933: 2:pl.265.
1935
Scharf, Alfred. Filippino Lippi. Vienna, 1935: 108, 120, fig. 63.
1936
Berenson, Bernard. Pitture italiane del rinascimento. Milan, 1936: 246.
1936
“In the Auction Rooms.” Connoisseur 98, no. 421 (September 1936): 180.
1936
Parker, Karl Theodore, and Charles John Holmes. Catalogue of the Famous Collection of Old Master Drawings, formed by the Late Henry Oppenheimer, Esq., F.S.A., of 9 Kensington Palace Gardens, W.8. Sale cat. Christie’s, Manson, and Woods. London, 10 July – 14 July 1936: 58.
1938
Berenson, Bernard. The Drawings of the Florentine Painters. 3 vols. Chicago, 1938: 2:144, 151.
1938
Neilson, Katharine B. Filippino Lippi, a Critical Study. New York, 1938: 121, 147, 151.
1950
Scharf, Alfred. Filippino Lippi, 2nd ed. Vienna, 1950: 22, 54.
1953
Exhibition of Old Master Drawings. Exh. cat. Colnaghi, London, 1953: under cat. 15.
1955
Fossi, Maria, ed. Mostra di disegni di Filippino Lippi e Piero di Cosimo. Exh. cat. Gabinetto Disegni e Stampe degli Uffizi, Florence, 1955: 18.
1956
Paintings and Sculpture from the Kress Collection 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: 116, no. 44, repro.
1957
Berti, Luciano, and Umberto Baldini. Filippino Lippi. Florence, 1957: 46, 90.
1958
Gamba, Fiammetta. Filippino Lippi nella storia della critica. Florence, 1958: 102 n. 33, 104 n. 54, fig. 21.
1959
Hamilton, Chloe. “Catalogue of Miller Fund Acquisitions: Drawings.” Allen Memorial Art Museum Bulletin 16, no. 2 (1959): 88-89.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 73, repro.
1961
Berenson, Bernard. I disegni dei pittori fiorentini, 3 vols. Milan, 1961: 2:253, 265.
1961
Davies, Martin. National Gallery Catalogues. The Earlier Italian Schools. London, 1961: 285.
1963
Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 1:111.
1964
Stechow, Wolfgang, and Richard E. Spear. Catalogue of Drawings and Watercolors in the Allen Art Museum, Oberlin College. Oberlin, OH, 1964: 48.
1964
Stechow, Wolfgang. “Joseph of Arimathea or Nicodemus?” In Wolfgang Lotz and Lisa Lotte Möller, eds. Studien zur toskanischen Kunst: Festschrift für Ludwig Heinrich Heyendreich zum 23 März 1963. Munich, 1964: 295-297, repro.
1965
Ciardi Dupré Dal Poggetto, Maria Grazia. “La scultura di Amico Aspertini.” Paragone 16, no. 189 (1965): 20.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 75.
1966
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 136, fig. 371.
1966
Spencer, John R. “The Lament at the Tomb by Filippino Lippi.” Allen Memorial Art Museum Bulletin 24, no. 1 (1966): 23, 26, 27, 33, repro.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 66, repro.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 106, 647.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 196, repro.
1975
Shoemaker, Innis H. “Filippino Lippi as a Draughtsman.” Ph.D. diss., Columbia University, 1975: 88-89, 318-323, 432 n. 1, cat. 90.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:260-261; 2:pl. 177.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 104, no. 71, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 229, repro.
1985
Sutton, Denys. “Aspects of British Collection, pt. 4.” Apollo 122 (1985): 122-123.
1988
Bambach Cappel, Carmen. “The Tradition of Pouncing Drawings in the Italian Renaissance Workshop: Innovation and Derivation.” 2 vols. Ph.D. diss. Yale University, 1988: 202-203.
1988
Wheeler, Marion, ed. His Face--Images of Christ in Art: Selections from the King James Version of the Bible. New York, 1988: no. 96, repro.
1991
Berti, Luciano, and Umberto Baldini. Filippino Lippi, 2nd ed. Florence, 1991: 52-53.
1991
Nelson, Jonathan K. “Aggiunte alla cronologia di Filippino Lippi.” Rivista d’arte 43 (1991): 52-53.
1992
Nelson, Jonathan K. “The Later Works of Filippino Lippi from the Roman Sojourn until His Death.” Ph.D. diss. New York University, Institute of Fine Arts, 1992: 328-329.
1995
Faietti, Marzia, Daniela Scaglietti Kelescian, and Manuela Iodice. Amico Aspertini. Modena, 1995: 185.
1996
Dunbar, Burton, and Edward Olszewski. Drawings in Midwestern Collections: A Corpus. 2 vols. Columbia, MO, and London, 1996: 1:37-41, repro.
1997
Bambach, Carmen C. “Technique and Working Practice in Filippino’s Drawings.” In George R. Goldner and Carmen Bambach, et. al. The Drawings of Filippino Lippi and His Circle. Exh. cat. Metropolitan Museum of Art, New York, 1997: 28.
1997
Goldner, George R., and Carmen Bambach, et. al. The Drawings of Filippino Lippi and His Circle. Exh. cat. Metropolitan Museum of Art, New York, 1997: 332.
1998
Del Bravo, Carlo. ”Filippino e lo Stoicismo.” Artibus et historiae 19, no. 37 (1998): 74 n. 66.
2001
Fornasari, Liletta. "Andrea del Verrocchio e le botteghe toscane: l'atelier del Rinascimento." In Liletta Fornasari, ed. Leonardo e dintorni: il Maestro, le botteghe, il territorio. Exh. cat. Palazzo del Comune, Arezzo, 2001: 78, fig. 65.
2003
Boskovits, Miklós, David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, 2003: 388-393, color repro.
2004
Zambrano, Patrizia, and Jonathan Katz Nelson. Filippino Lippi. Milan, 2004: 381, 383, 601-602, cat. 58, fig. 301.
2017
Serres, Karen. "Duveen's Italian framemaker, Ferruccio Vannoni." The Burlington Magazine 159, no. 1370 (May 2017): 373 n. 40.
2020
Nuttall, Paula. “From Reiteration to Dialogue: Filippino’s Responses to Netherlandish Painting.” In Paula Nuttall, Geoffrey Nuttall, Michael W. Kwakkelstein, eds. Filippino Lippi: Beauty, Invention and Intelligence. Leiden, 2020: 198.
2022
Calogero, Giacomo Alberto. “Perugino, Filippino e Boltraffio: Gli arrivi ‘forestieri’ a Bologna intorno al 1500.” In Daniele Benati, Maria Luisi Pacelli, and Elena Rossoni, eds. Giulio II e Raffaello: Una nuova stagione del Rinascimento a Bologna. Exh. cat. Pinacoteca Nazionale, Bologna, 2022: 97, 99 n. 44, 107, fig. 2.
2022
Nelson, Jonathan K. Filippino Lippi: An Abundance of Invention. London, 2022: 174-175, fig. 62.

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