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Dorking, Surrey, England (both residences of Thomas Hope, elder brother of Henry P
III. no. 58, p. 91, Roma: Biblioteca Apostolica Vaticana. Hope, Thomas. 1807.
Bulletin of the Metropolitan Museum of Art, 23(2), part 1: p. 54–57, figs. 1–
Bulletin of the Metropolitan Museum of Art, 23(2), part 1: p. 54–57, figs. 1–
The daughter of an army sergeant, Hendrickje Stoffels advanced in Rembrandt’s household from servant (by 1649) to mistress, presumed model, and common-law wife, as well as stepmother to the artist’s son Titus (1641–1668) and mother of his daughter Cornelia (1654–1685)
Stuttgart, 1904, p. 262, ill. p. 219. Wilhelm R. Valentiner.
This picture was painted in 1653 for the Sicilian nobleman Don Antonio Ruffo (1610/11–1678) and sent from Amsterdam to his palace in Messina during the summer of 1654. Ruffo was an avid collector; at his death he had 364 paintings, including a work by Van Dyck, Saint Rosalie Interceding for the Plague-stricken of Palermo, now also in The Met (Paris, 1907, vol. 1, p. 66, no. 65, ill. opp. p. 66. Marcel Nicolle.
Inscription: Signed and dated (verso, left, in black paint): Juan Gris / ceret 10-13 [now concealed by relining; visible in infrared transmitted light; signature reproduced on relining]
New York, 1944, p. 221, ill. p. 72. Henry-Russell Hitchcock.
Palazzo Barberini, Rome, likely 1679-at least 1881 and probably 1890; E. Volpi, Florence, as early as 1890-1905; exported from Italy, July 1905 (dated customs stamp on reverse of panel); Oscar Huldschinsky, Berlin, from 1906-May 1928; Huldschinsky sale, Cassirer and Helbing, Berlin, May 10–11, 1928, no
, p. 81. Count Plunkett. Sandro Botticelli. London, 1900, p. 117.
Inscription: (On scroll): . Ave . / . gracia . / . ple / na . (Hail [Mary] full of grace)Marking: Arms [on shield held by two angels, center top]: Vilanova of Castile, Catalonia, etc
The Arts 12 (July 1927). p. 35, ill. p. 4. Breck, Joseph.
Beneath a curiously distended double arch of the nave of a church illuminated with bottle glass windows, the Virgin demurely extends her hand, on which a bearded Joseph places a ring rendered in raised, gilded pastiglia—the same technique used for the collar of the officiating priest and for the haloes decorated with pseudo-Kufic lettering
Art News 35 (May 1, 1937), p. 156, ill. p. 42. Charles Sterling.
L’art et les artistes, n.s., 15 (October 1927), p. 20, ill. p. 3.
