• Explore fifteenth- to twentieth-century Spanish paintings, including major works by Zurbaran, Goya, Velazquez, and Picasso.

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  • The Sorrowful Virgin

    Unidentified artist, Spanish, 17th–18th century (Spanish)

    Description

    Provenance

    By 1890 Mrs. Henry Edwards; 1890 MFA (bequest of Edwards) (Accession date: April 1, 1890)

    Credit Line

    Bequest of Mrs. Henry Edwards

    Details

    Accession Number

    90.79

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Geographer

    Follower of Jusepe de Ribera (Spanish (active in Italy), 1591–1652)

    Description

    Provenance

    Baron de Reuter, Kensington Palace Gardens, London; by 1899, sold by Reuter to Blakeslee Galleries, New York; 1899, sold by Blaskeslee to the MFA for $3000. (Accession Date: December 5, 1899)

    Credit Line

    Julia Bradford Huntington James Fund

    Details

    Dimensions

    128.0 x 95.5 cm (50 3/8 x 37 3/5 in.)

    Accession Number

    99.315

    Medium or Technique

    Oil on canvas

    Not On View

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  • Don Baltasar Carlos with a Dwarf

    1632
    Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660)

    Description

    As court painter to Philip IV, Velázquez painted countless portraits of the king and his family, images at once majestic and human. This charming, child-size version of the traditional royal portrait may commemorate the swearing of allegiance by the nobles of Castile to the two-year-old heir to the throne. Baltasar Carlos is shown standing regally still beside one of the lively dwarves who served as jesters and companions at the Spanish court. The dwarf’s rattle and apple can be interpreted both as playthings appropriate to the prince’s age and as symbols of the orb and scepter he will someday wield as king of Spain.

    Inscription

    Center right: A E T A T. S A N N[...] / M E N S 4

    Provenance

    Mid-18th century, acquired in Parma by Henry Howard, 4th Earl of Carlisle (b. 1694 - d. 1758), Castle Howard, York, England [see note 1]; by descent within the family until 1900; May 1, 1900, sold by George James Howard, 9th Earl of Carlisle (b. 1843 - d. 1911), Castle Howard, to Messrs. Lawrie and Co., London, for Knoedler and Co., London and Paris (stock no. 2583); October, 1900, shipped to Knoedler and Co., New York (stock no. 9285) [see note 2]; 1901, sold by Knoedler to the MFA for $80,000. (Accession Date: February 2, 1901) NOTES: [1] The provenance was provided by Knoedler at the time of the painting's acquisition. The painting was attributed to Correggio until the 19th century, and was thought to represent the Duke of Parma. It was first recorded at Castle Howard in 1769, according to notes from the Keeper of Textiles at Castle Howard (September, 1983; in the MFA curatorial file). [2] Information about the Knoedler transactions was provided by the Getty Research Institute. Online, see the Getty Provenance Index, M. Knoedler and Co. records, PI record number K-14822 (Stock book 5, no. 9285, p. 28). http://www.getty.edu/research/tools/provenance/

    Credit Line

    Henry Lillie Pierce Fund

    Details

    Dimensions

    128.0 x 101.9 cm (50 3/8 x 40 1/8 in.)

    Accession Number

    01.104

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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    • ENG_807.mp3

  • Portrait of a Young Man

    Unidentified artist, Spanish, fourth quarter 18th century (Spanish), Formerly attributed to Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    Provenance

    Don Infante Sebastián Gabriel Borbón y Braganza (b. 1811 - d. 1875), Pau, France. Acquired in Pau, probably directly from the Borbón collection, by Émile Pacully, Paris; January, 1903, sold by Pacully to Walter Gay for the MFA for $6117 [see note 1]. (Accession Date: February 3, 1903) NOTES: [1] The painting was acquired as a work by Goya, and was called "Portrait of the Artist's Son."

    Credit Line

    Julia Bradford Huntington James Fund

    Details

    Dimensions

    73.3 x 50.2 cm (28 7/8 x 19 3/4 in.)

    Accession Number

    03.622

    Medium or Technique

    Oil on canvas

    Not On View

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  • Philip IV, King of Spain

    1624
    Workshop of Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660)

    Description

    Closely resembles and is possibly after a painting in the Metropolitan Museum of Art, New York (no. 14.40.639)


    Created near the beginning of Velázquez’s career as court painter to Philip IV, this portrait exists in several versions and demonstrates the austerity of the artist’s early style. The king’s only decoration is the golden chain from which dangles the emblem of the Order of the Golden Fleece. Most seventeenth-century royal portraits emphasized lavish display, but the Hapsburg royal family, including the Spanish kings, had a tradition of being soberly represented in black. As the most powerful rulers in Europe, they considered their importance to be self-evident.

    Provenance

    By 1892, with Luis de Navas, Madrid [see note 1]; 1904, sold by Navas, possibly on behalf of Don Francisco María de Borbón y Castellvi (b. 1853 - d. 1942), Madrid, to Denman Waldo Ross for the MFA for $41,222 [see note 2]. (Accession Date: November 7, 1904) NOTES: [1] This is probably the "Portrait of Philip IV" by Velázquez that Navas lent in 1892-1893 to the Exposition Historico-Europea, Madrid, Sala XXIV, cat. no. 105. [2] The ownership of this painting prior to 1904 has not been firmly established. During a trip to Madrid in September 1904, Denman Waldo Ross came across a photograph of this painting at the home of Luis de Navas, who arranged for Ross to see it at the home of its owner, the "Prince of Bourbon (Duke of Anjou)." In fact, this was probably Francisco María de Borbón y Castellvi, who claimed (but did not legitimately bear) the titles of Duke of Anjou and Prince of Bourbon. On October 1, 1904, he provided a statement (signed as François, Duke de Bourbon) of its sale to Ross, indicating that it had been the property of his family. In November 1904, H. O. Havemeyer received an anonymous letter (Paris, October 13, 1904) alleging that, in fact, Luis de Navas had owned the painting and fabricated its provenance in order to sell it more readily. A letter to the editor of the New York Sun from A. de Beruete, a Madrid art critic (January 2, 1905), states that the picture had been in the possession of Luis de Navas since at least 1892, when he lent it to the Historic European Exhibition in Madrid. In fact, it was exhibited under his name, which strongly suggests his ownership; see above, n. 1. In February 1906, the MFA received two letters from the Countess of Carignano, New York, on behalf of the Prince de Bourbon, affirming his former ownership of the painting.

    Credit Line

    Sarah Wyman Whitman Fund

    Details

    Dimensions

    208.6 x 110.2 cm (82 1/8 x 43 3/8 in.)

    Accession Number

    04.1606

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Portrait of a Man in a Brown Coat

    Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    Provenance

    1910, with the Walter Kimball Gallery, Boston [see note 1]; probably sold by Kimball to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; 1910, gift of Mrs. W. Scott Fitz to the MFA. (Accession Date: February 17, 1910) NOTES: [1] Mrs. Fitz wrote to Arthur Fairbanks, Director of the MFA (February 16, 1910), offering as a gift "the portrait by Goya that is now on exhibition at the Kimball Gallery on Arlington St." The reverse of the frame also bears a label from the Kimball Gallery.

    Credit Line

    Gift of Mrs. W. Scott Fitz

    Details

    Dimensions

    105.4 x 83.2 cm (41 1/2 x 32 3/4 in.)

    Accession Number

    10.33

    Medium or Technique

    Oil on canvas

    Not On View

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  • Coronation of the Virgin

    Master of Bonastre (Spanish (Valencian), active in mid-15th century)

    Description

    Provenance

    By 1910, Denman Waldo Ross, Cambridge, Ma; 1910, gift of Ross to the MFA [see note 1]. (Accession date: March 3, 1910) Notes: [1] Work of art was accessioned as a piece by Borrassa.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    134.6 x 107.3 cm (53 x 42 1/4 in.)

    Accession Number

    10.36

    Medium or Technique

    Oil on panel

    Not On View

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  • Canal in Venice

    late 19th–early 20th century
    Antonio Reyna Manescau (Spanish (active in Italy), 1859–1937)

    Description

    Inscription

    Lower right: A Reyna / Venezia

    Provenance

    By 1915, with Maurice Longstreth; 1915, bequest of Longstreth. (Accession date: January 7, 1915)

    Credit Line

    Bequest of Maurice Longstreth

    Details

    Dimensions

    75 x 43.2 cm (29 1/2 x 17 in.)

    Accession Number

    15.2

    Medium or Technique

    Oil on canvas

    Not On View

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  • My Uncle Daniel and his Family

    1910
    Ignacio Zuloaga y Zabaleta (Spanish, 1870–1945)

    Description

    Zuloaga, “the Great Basque,” hailed from five generations of painters. Influenced by predecessors such as Velázquez and Goya, he painted mostly images of Basque and Andalusian traditions. While his work is uniquely Spanish, his early mentors and colleagues included French painters like Degas and Gauguin, and Dutch-born van Gogh. Later, he befriended Émile Bernard, who taught him the cloisonné technique seen in the “stained glass” quality of the oriental shawl. Zuloaga’s large family portrait combines these stylistic sources, visible in the composition and emotional effect achieved through swirling brushstrokes and a haunting atmosphere.

    Inscription

    Lower right: I Zuloaga

    Provenance

    Until 1917, Ignacio Zuloaga y Zabaleta, the artist; 1917, sold by the artist to the MFA for $20,000. (Accession Date: April 19, 1917)

    Credit Line

    Caroline Louisa Williams French Fund

    Details

    Dimensions

    205.1 x 289.5 cm (80 3/4 x 114 in.)

    Accession Number

    17.1598

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Virgin of the Immaculate Conception

    1682
    Francisco Ignacio Ruiz de la Iglesia (Spanish, 1648–1704)

    Description

    Inscription

    Lower right: Franco. Inazio Ruiz / fat. ano 1682

    Provenance

    Mrs. Mary Hemenway; - 1918 Hemenway Heirs, by inheritance; 1918 - Boston, MA, USA. Museum of Fine Arts (gift of Hemenway heirs) (Accession date: October 10, 1918)

    Credit Line

    Gift of the heirs of Mrs. Mary Hemenway

    Details

    Dimensions

    228.3 x 167.7 cm (89 7/8 x 66 in.)

    Accession Number

    18.622

    Medium or Technique

    Oil on canvas

    Not On View

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  • Portrait of a Woman

    about 1650–70
    Juan Carreno De Miranda (Spanish, 1614–1685)

    Description

    Provenance

    1888, by inheritance from Sarah E. Williams Thacher (d. 1888), Boston, to Dr. Henry K. Oliver (b. 1821 - d. 1919), Boston [see note]; 1918, gift of Henry K. Oliver to the MFA. (Accession Date: December 5, 1918) NOTE: Lent by Dr. Oliver to the MFA on April 11, 1895. The painting was attributed to an artist of the Spanish school, and was believed to represent Henrietta Maria.

    Credit Line

    Gift of Dr. Henry K. Oliver

    Details

    Dimensions

    57.8 x 47.0 cm (22 3/4 x 18 1/2 in.)

    Accession Number

    18.654

    Medium or Technique

    Oil on canvas

    Not On View

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  • Christ in Majesty with Symbols of the Four Evangelists

    1150–1200
    Unidentified artist, Spanish (Catalan), 12th century (Spanish (Catalan))

    Description

    This fresco is among the greatest twelfth-century European paintings in the United States. It once decorated the apse - the semicircular area behind the altar - of the small church of Santa Maria del Mur, in the foothills of the Spanish Pyrenees. Huge eyed and solemn, the figure of Christ in majesty dominates the composition. The inscription in the book he holds reinforces Christ’s centralization in Christian art and doctrine: “I am the way, the truth, and the life, no man cometh into the Father but by me.” Christ is surrounded by symbols of all four Evangelists (authors of the New Testament Gospels). Lower tiers contain the twelve Apostles (the original followers of Christ) and scenes from the Bible.

    Provenance

    12th century, apse of Santa Maria de Mur, Lérida, Spain (original commission); 1919, frescoes sold by the rector of the church to Ignasi Pollak, removed from the church, and sold by Pollak to Luís Plandiura (b. 1882 - d. 1956), Barcelona [see note 1]; 1921, sold by Plandiura, through Rafael J. Bosch (with the assistance of Gabriel Dereppe), New York, to the MFA for $92,100. (Accession Date: May 5, 1921) NOTES: [1] See Anke Wunderwald and Mireia Berenguer i Amat, "Entorn al Museu: Les circumstàncies sobre la venda de les pintures murals de Santa Maria de Mur," Butlletí del Museu Nacional d'Art de Catalunya 5 (2001): 121-129 (English translation in MFA curatorial file).

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    645 x 382 x 282 cm (253 15/16 x 150 3/8 x 111 in.); 645 cm (254 in.) at greatest height; 282 cm (111 in.) at greatest depth; 382 cm (150 3/8 in.) at greatest breadth.

    Accession Number

    21.1285

    Medium or Technique

    Fresco secco transferred to plaster and wood

    On View

    I. W. Colburn Chapel Gallery (Gallery 254A)

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    • ENG_801.mp3

  • Infanta Maria Theresa

    1653
    Workshop of Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660)

    Description

    This painting is probably one of three portraits sent to potential suitors of Maria Theresa, the daughter of Spain’s King Philip IV and ultimately the wife of Louis XIV of France. In portraying the royal family, Velázquez generally painted a bust-length portrait from life, which he and his assistants would use as a model in creating full-length versions. The freshness of the colors and brushwork in this painting stress the desirability of the fifteen-year-old princess, and suggest that Velázquez was closely associated with its production.

    Provenance

    1653, probably Leopold William (b. 1614 - d. 1662), Archduke of Austria, Brussels and Vienna [see note 1]; 1662, probably by inheritance to Leopold I (b. 1640 - d. 1705), Holy Roman Emperor, Vienna; passed into the Imperial Art Collection, Vienna, which became the Kunsthistorisches Museum (inv. no. 618); 1921, exchanged by the Kunsthistorisches Museum with Hans von Pereira-Arnstein, Vienna; 1921, sold by Pereira-Arnstein to the MFA for $40,000. (Accession Date: December 13, 1921) NOTES: [1] Maria Theresa (b. 1638 - d. 1683) was the daughter of King Philip IV of Spain, to whom Velázquez was the court painter. The king commissioned three portraits of his daughter to be sent to potential suitors. On December 17, 1653, Giacomo Querini, minster of the Venetian Republic at Madrid, reported that portraits of the princess had already been sent to Emperor Ferdinand III in Vienna and Archduke Leopold William in Brussels. It is generally accepted that the MFA portrait was the one sent to Archduke Leopold and that the portrait of Maria Theresa at the Kunsthistorisches Museum, Vienna, was the one sent to Emperor Ferdinand. See Heinrich Zimmerman, "Zur Ikonographie des Hauses Habsburg," Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses 25, no. 4 (1905): 185-190 and Walter W. S. Cook, "Spanish and French Paintings in the Lehman Collection," Art Bulletin 7 (1924): 57-59. A third portrait was sent to Louis XIV, whom the Infanta married in 1660; this is at the Musée du Louvre, Paris.

    Credit Line

    Gift of Charlotte Nichols Greene in memory of her father and mother, Mr. and Mrs. Howard Nichols

    Details

    Dimensions

    128.6 x 100.6 cm (50 5/8 x 39 5/8 in.)

    Accession Number

    21.2593

    Medium or Technique

    Oil on canvas

    Not On View

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  • Description

    Provenance

    By 1899, William Sturgis Bigelow (b. 1850 - d. 1926), Boston; 1922, gift of William Sturgis Bigelow to the MFA. (Accession Date: January 5, 1922)

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    51.1 x 69.2 cm (20 1/8 x 27 1/4 in.)

    Accession Number

    22.11

    Medium or Technique

    Oil on canvas

    Not On View

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  • Saint Cyril of Constantinople

    after 1634
    Francisco de Zurbarán (Spanish, 1598–1664)

    Description

    Inscription

    On ledge beneath saint: S. CIRILO

    Provenance

    About 1632, an altarpiece in the Church of the College of San Alberto, Seville (original commission) [see note 1]; remained at San Alberto until at least 1800 [see note 2]; by 1810, removed from San Alberto and placed in the Alcázar, Seville [see note 3]; taken from the Alcázar by Maréchal Nicolas Jean de Dieu Soult (b. 1769 - d. 1851), Duc de Dalmatie, Paris; by 1836, sold by Soult to George Granville Sutherland-Leveson-Gower (b. 1786 - d. 1861), 2nd Duke of Sutherland, Dunrobin Castle, near Golspie, Scotland; until 1913, by descent within the family; July 11, 1913, Duke of Sutherland sale, Christie, Manson and Woods, London, lot 145, to M. Knoedler and Co., London (stock no. 13292) and Arthur J. Sully and Co., London [see note 4]; May, 1914, Knoedler sold its half-share to Sully. By 1922, Zoe Oliver Sherman, Boston; 1922, gift of Zoe Oliver Sherman to the MFA. (Accession Date: August 3, 1922) NOTES: [1] The altarpiece was at the first altar from the church entrance, on the right side. Another panel from this altarpiece is in the collection of the MFA (accession no. 23.554). For further information on the commission, see the exhibition catalogue "Zurbarán" (Metropolitan Museum of Art, New York and Grand Palais, Paris, 1987-1988), pp. 133-135. [2] See the exh. cat. "Zurbarán" (as above, n. 1), p. 136, cat. no. 16. It is said to have been recorded as in situ by Juan Agustín Ceán Bermúdez in his "Diccionario histórico de los más ilustres profesores de las bellas artes en España" (Madrid, 1800), vol. 6, pp. 48-49. [3] Recorded in the 1810 inventory of the Alcázar palace, room 8, no. 270. Nine hundred and ninety-nine paintings were removed from Sevillan churches by the French during the Peninsular Wars (1807 - 1814) and were placed in the Alcázar. [4] This was a joint account; Knoedler purchased the painting and Sully and Co. sold it. See the Getty Provenance Index, M. Knoedler and Co. Records, PI record no. K-14535 and 14546 (stock book 6, no. 13292, p. 72). http://www.getty.edu/research/tools/provenance/

    Credit Line

    Zoe Oliver Sherman Collection

    Details

    Dimensions

    92.4 x 32.4 cm (36 3/8 x 12 3/4 in.)

    Accession Number

    22.642

    Medium or Technique

    Oil on canvas

    Not On View

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  • Lighthouse Walk at Biarritz

    1906
    Joaquin Sorolla y Bastida (Spanish, 1863–1923)

    Description

    Sorolla was a leading Spanish Impressionist, and frequently exhibited in Paris. The artist’s free, dynamic brushwork inspired critics to refer to him as the “Spanish Sargent.” His depiction of pleasurable pastimes, such as this leisurely walk by the sea, attracted a large American audience at the turn of the century. Many of Sorolla’s most important works, including a huge mural cycle in New York’s Hispanic Society of America, are in the United States.

    Inscription

    Lower right: J Sorolla y Bastida / 1906

    Provenance

    1909, exhibited by the artist at the Hispanic Society of America, New York, and sold to Peter Chardon Brooks, III (b. 1831 - d. 1920), Boston [see note 1]; by descent to his daughter, Eleanor Brooks (Mrs. Richard M.) Saltonstall (b. about 1867), Boston; 1922, gift of Mrs. Richard M. Saltonstall to the MFA. (Accession Date: November 2, 1922) NOTES: [1] In 1909, Sorolla exhibited over 350 paintings, which were available for sale, at the Hispanic Society of America (February 8 - March 8, 1909); Buffalo Fine Arts Academy (March 20 - April 10, 1909); and the Copley Society of Boston (April 20 - May 11, 1909), cat. no. 165. Peter Chardon Brooks reserved the painting during the exhibition and purchased after its close in May, 1909.

    Credit Line

    Peter Chardon Brooks Memorial Collection; Gift of Mrs. Richard M. Saltonstall

    Details

    Dimensions

    68.3 x 188.6 cm (26 7/8 x 74 1/4 in.)

    Accession Number

    22.691

    Medium or Technique

    Oil on canvas

    Not On View

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  • Cavalry Battle

    1871
    Mariano José Maria Bernardo Fortuny y Carbó (Spanish, 1838–1874)

    Description

    Inscription

    Lower left: Fortuny 1871

    Provenance

    Ernest Wadsworth Longfellow (b. 1845 - d. 1921), Boston; 1923, bequest of Ernest Wadsworth Longfellow to the MFA. (Accession Date: November 1, 1923)

    Credit Line

    Bequest of Ernest Wadsworth Longfellow

    Details

    Dimensions

    11.5 x 17.8 cm (4 1/2 x 7 in.)

    Accession Number

    23.494

    Medium or Technique

    Oil on panel

    Not On View

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  • Saint Peter Thomas

    after 1634
    Francisco de Zurbarán (Spanish, 1598–1664)

    Description

    Inscription

    On ledge beneath saint: S. P Thomas

    Provenance

    About 1632, an altarpiece in the Church of the College of San Alberto, Seville (original commission) [see note 1]; remained at San Alberto until at least 1800 [see note 2]; by 1810, removed from San Alberto and placed in the Alcázar, Seville [see note 3]; taken from the Alcázar by Maréchal Nicolas Jean de Dieu Soult (b. 1769 - d. 1851), Duc de Dalmatie, Paris; by 1836, sold by Soult to George Granville Sutherland-Leveson-Gower (b. 1786 - d. 1861), 2nd Duke of Sutherland, Dunrobin Castle, near Golspie, Scotland; until 1913, by descent within the family; July 11, 1913, Duke of Sutherland sale, Christie, Manson and Woods, London, lot 145, to M. Knoedler and Co., London (stock no. 13291) and Arthur J. Sully and Co., London [see note 4]; May, 1914, Knoedler sold its half-share to Sully. By 1922, Zoe Oliver Sherman, Boston; 1923, gift of Zoe Oliver Sherman to the MFA. (Accession Date: November 1, 1923) NOTES: [1] The altarpiece was at the first altar from the church entrance, on the right side. Another panel from this altarpiece is in the collection of the MFA (accession no. 23.554). For further information on the commission, see the exhibition catalogue "Zurbarán" (Metropolitan Museum of Art, New York and Grand Palais, Paris, 1987-1988), pp. 133-135. [2] See the exh. cat. "Zurbarán" (as above, n. 1), p. 136, cat. no. 16. It is said to have been recorded as in situ by Juan Agustín Ceán Bermúdez in his "Diccionario histórico de los más ilustres profesores de las bellas artes en España" (Madrid, 1800), vol. 6, pp. 48-49. [3] Recorded in the 1810 inventory of the Alcázar palace, room 8, no. 270. Nine hundred and ninety-nine paintings were removed from Sevillan churches by the French during the Peninsular Wars (1807 - 1814) and were placed in the Alcázar. [4] This was a joint account; Knoedler purchased the painting and Sully and Co. sold it. See the Getty Provenance Index, M. Knoedler and Co. Records, PI record no. K-14535 and 14546 (stock book 6, no. 13291, p. 72). http://www.getty.edu/research/tools/provenance/

    Credit Line

    Zoe Oliver Sherman Collection

    Details

    Dimensions

    92.4 x 32.1 cm (36 3/8 x 12 5/8 in.)

    Accession Number

    23.554

    Medium or Technique

    Oil on canvas

    Not On View

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  • Antiquaries

    1863
    Mariano José Maria Bernardo Fortuny y Carbó (Spanish, 1838–1874)

    Description

    Fortuny’s lively and brilliant paintings, with their sparkling, flecked brushstrokes, brought him fame not only in his native Spain but also in Italy, France, and the United States. Here, two gentlemen in eighteenth-century dress study a portfolio of engravings in a room crowded with works of art. When the painting was purchased in 1867 by the American W. H. Stewart, one of Fortuny’s chief patrons, the artist added a likeness of Stewart, clad in armor, in the elaborate frame over the mantel.

    Inscription

    Lower right A: M Fortuny

    Provenance

    About 1866/1868, exchanged by the artist with Vicenzo Capobianchi, Rome; May 15, 1868, sold by Capobianchi to Goupil et Cie., Paris, for 4,000 fr.; June 5, 1868, sold by Goupil to William Hood Stewart (b. 1820 - d. 1897), Philadelphia and Paris, for 6,000 fr. [see note 1]; February 3-4, 1898, posthumous Stewart sale, American Art Association, New York, lot 119. Edward T. Stotesbury (b. 1849 - d . 1938), Philadelphia [see note 2]. 1921, Scott and Fowles, New York. 1924, purchased by the MFA for $8000. (Accession Date: February 7, 1924) NOTES: [1] On the early provenance of this painting see W. R. Johnston, "W. H. Stewart, The American Patron of Mariano Fortuny," Gazette des Beaux-Arts 77 (March, 1971): 184 and, in particular, Prelude to Spanish Modernism: Fortuny to Picasso (exh. cat. Albuquerque Museum and Meadows Museum, Dallas, 2005-2006), p. 338, cat. no. 87. [2] According to notes in the MFA curatorial file.

    Credit Line

    S. A. Denio Collection—Sylvanus Adams Denio Fund and General Income

    Details

    Dimensions

    47.0 x 66.3 cm (18 1/2 x 26 1/8 in.)

    Accession Number

    24.17

    Medium or Technique

    Oil on canvas

    Not On View

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  • Saint Martin of Tours Dividing his Cloak for a Beggar

    Master of Belmonte (Spanish (Aragonese), active in third quarter, 15th century)

    Description

    This panel, undoubtedly from a larger altarpiece dedicated to Saint Martin, has on stylistic grounds been attributed to an unknown artist nicknamed the “Master of Belmonte.” Its style is close to that of Martín de Soria, to whom it once was attributed; its idiosyncratically proportioned figures and spidery cityscape, however, bespeak a different painter. Especially characteristic are the emphatically decorative, rather flattening effects of heavily gilded embossing on the draperies, haloes, and horse’s harness. This panel depicts a well-known episode from the life of the early medieval Saint Martin. While serving in the Roman army, Martin encountered a nearly naked beggar outside the city of Amiens. Dividing his cloak with his sword, he left half of it with the poor man. That night, he had a vision of Christ enveloped in that half of the cloak; Martin promptly was baptized and soon afterward left the army to devote himself to his new faith. Many elements of this tale are woven into the Master of Belmonte’s depiction, in which the beggar’s divine identity is signaled by his cross-halo, while the spindly towers and massive walls of “Roman” Amiens appear in the background.

    Provenance

    1919, Valenciano (dealer), Barcelona; 1924, sold by Valenciano to the MFA. for $3070 (Accession Date: July 17, 1924)

    Credit Line

    Herbert James Pratt Fund

    Details

    Dimensions

    166.7 x 105.7 cm (65 5/8 x 41 5/8 in.)

    Accession Number

    24.338

    Medium or Technique

    Tempera on panel

    Not On View

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  • Saint Francis

    about 1640–45
    After Francisco de Zurbarán (Spanish, 1598–1664)

    Description

    After a painting in the National Gallery, London

    Provenance

    By 1926, William Sturgis Bigelow (d. 1926), Boston, MA; 1926 bequeathed (or given as a gift?) by William Sturgis Bigelow to the MFA. (Accession Date: December 20, 1926)

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    46.3 x 38.7 cm (18 1/4 x 15 1/4 in.)

    Accession Number

    26.775

    Medium or Technique

    Oil on canvas

    Not On View

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  • The Last Supper Frieze (from the church of San Baudelio near Berlanga)

    Unidentified artist, Spanish (Castilian), 12th century (Spanish (Castilian))

    Description

    Provenance

    From the 12th century until about 1922/1926, the church of San Baudelio de Berlanga, Berlanga de Duero, Spain (original commission); 1922, frescoes acquired by Léon Levi (dealer); about 1922/1926, frescoes removed from Spain, possibly to London, and transferred to canvas [see note 1]; 1927, with Gabriel Dereppe, New York [see note 2]; 1927, sold by Dereppe to the MFA for $117,500. (Accession Date: November 17, 1927) NOTES: [1] See Mojmir S. Frinta, "The Frescoes from San Baudelio de Berlanga," Gesta, 1964. [2] Dereppe was a dealer who worked with Demotte and Co., Paris. Through him, the frescoes from San Baudelio de Berlanga were dispersed among several museums.

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    Overall: 179 x 380cm (70 1/2 x 149 5/8in.)

    Accession Number

    27.785a

    Medium or Technique

    Fresco secco transferred to canvas

    Not On View

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  • Ribbon Meander Frieze (from the church of San Baudelio near Berlanga)

    Unidentified artist, Spanish (Castilian), 12th century (Spanish (Castilian))

    Description

    Lower Panel of 27.785a

    Provenance

    From the 12th century until about 1922/1926, the church of San Baudelio de Berlanga, Berlanga de Duero, Spain (original commission); 1922, frescoes acquired by Léon Levi (dealer); about 1922/1926, frescoes removed from Spain, possibly to London, and transferred to canvas [see note 1]; 1927, with Gabriel Dereppe, New York [see note 2]; 1927, sold by Dereppe to the MFA. (Accession Date: November 17, 1927) NOTES: [1] See Mojmir S. Frinta, "The Frescoes from San Baudelio de Berlanga," Gesta, 1964. [2] Dereppe was a dealer who worked with Demotte and Co., Paris. Through him, the frescoes from San Baudelio de Berlanga were dispersed among several museums.

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    Overall: 63 x 380 cm (24 13/16 x 149 5/8 in.)

    Accession Number

    27.785b

    Medium or Technique

    Fresco secco transferred to canvas

    Not On View

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  • The Three Marys at the Sepulchre (from the church of San Baudelio near Berlanga)

    Unidentified artist, Spanish (Castilian), 12th century (Spanish (Castilian))

    Description

    Provenance

    From the 12th century until about 1922/1926, the church of San Baudelio de Berlanga, Berlanga de Duero, Spain (original commission); 1922, frescoes acquired by Léon Levi (dealer); about 1922/1926, frescoes removed from Spain, possibly to London, where they were transferred to canvas [see note 1]; 1927, with Gabriel Dereppe, New York [see note 2]; 1927, sold by Dereppe to the MFA for $75000. (Accession Date: November 17, 1927) NOTES: [1] See Mojmir S. Frinta, "The Frescoes from San Baudelio de Berlanga," Gesta, 1964. [2] Dereppe was a dealer who worked with Demotte and Co., Paris. Through him, the frescoes from San Baudelio de Berlanga were dispersed among several museums.

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    195 x 387.3 cm (76 3/4 x 152 1/2 in.)

    Accession Number

    27.786

    Medium or Technique

    Fresco secco transferred to canvas

    Not On View

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  • Time, Truth and History

    Sketch for Allegory on the Spanish Constitution, Nationalmuseum, Stockholm

    about 1797–99 or 1804
    Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    A rough sketch from the early part of Goya’s career, this painting represents the winged Time, holding an hourglass, revealing naked Truth to the viewer. In the foreground, History records the event in her book, while looking over her shoulder in order to acknowledge the past. This composition was later used by Goya in a large-scale allegory relating to Spain’s liberation from Napoleonic rule. In that version, the figure of Truth is replaced by one that may represent the Spanish nation, and the threatening bats and owls lurking overhead have disappeared.

    Provenance

    Given by the artist to Juan Carnicero, Madrid [see note 1]. About 1875, Alejandro de Coupigny, Madrid [see note 1]. 1918, purchased in Madrid by Ralph W. Curtis for Horatio Greenough Curtis, Boston [see note 2]; by descent to his wife, Mrs. Horatio Greenough Curtis; 1927, gift of Mrs. Horatio Greenough Curtis to the MFA. (Accession Date: July 21, 1927) NOTES: [1] The sketch was first published in "El grabador al aguafuerte," Colección de obras originales y copias de las selectas de autores españoles (Madrid, 1875), vol. 2, pl. 21 (etching after the original painting), as in the possession of Alejandro de Coupigny. It is said to have been given by the artist to Juan Carñicero, librarian of the king. [2] According to a signed note by Horatio G. Curtis (in the MFA curatorial file). A letter written on stationery of the Senate of Spain and signed "R" (March 16, 1916; in the MFA curatorial file) mentions seeing the sketch, though in whose possession it was at that time is not documented.

    Credit Line

    Gift of Mrs. Horatio Greenough Curtis in memory of Horatio Greenough Curtis

    Details

    Catalogue Raisonné

    G&W 696; Gu 482

    Dimensions

    41.6 x 32.7 cm (16 3/8 x 12 7/8 in.)

    Accession Number

    27.1330

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child Enthroned with Cardinal Alonso Borja (Borgia)

    Gonçal Peris (Spanish (Valencian), active in first quarter, 15th century)

    Description

    Provenance

    Commissioned by cardinal Alfonso Borgia (b. 1378 - d. 1458), possibly for the collegiate church of Xàtiva, Spain [see note 1]; at an unknown date, removed from the collegiate church at Xàtiva and placed in the cathedral of Valencia [see note 2]. 1929, Arthur Byne, Madrid; 1929, sold by Arthur Byne to the MFA. (Accession Date: December 5, 1929) NOTES: [1] The identification of the donor Alfonso Borgia, who is represented kneeling in the lower right of the composition, was proposed by Carl Strehlke (correspondence with the MFA, August 31, 2008). Borgia was born in Xàtiva, and in 1455 would become Pope Calixtus III. According to the dealer Arthur Byne, this painting was made for the collegiate church of Xàtiva. When Chandler Rathfon Post published the work, he indicated that it was the central panel of a retable; see his History of Spanish Painting, vol. IV, pt. 2 (Cambridge, MA: Harvard University Press, 1933), pp. 580-582. [2] According to the dealer Arthur Byne at the time of the acquisition.

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    Overall (Panel, exclusive of modern mouldings at upper and lower edges): 155.9 x 77.4 cm (61 3/8 x 30 1/2 in.) Other (Principal design): 128.6 x 56.5 cm (50 5/8 x 22 1/4 in.)

    Accession Number

    29.1129

    Medium or Technique

    Tempera on panel

    Not On View

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  • Portrait of a Young Woman with a Parrot

    Unidentified artist, Spanish, second half 18th century (Spanish)

    Description

    Provenance

    By 1930, Harriet J. White (Mrs. Frederick T.) Bradbury (d. 1930), Boston, MA; 1930, bequeathed by Harriet Bradbury to the MFA. (Accession Date: July 3, 1930)

    Credit Line

    Bequest of Mrs. Harriet J. Bradbury

    Details

    Dimensions

    96.5 x 77.5 cm (38 x 30 1/2 in.)

    Accession Number

    30.502

    Medium or Technique

    Oil on canvas

    Not On View

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  • Luis de Góngora y Argote

    1622
    Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660)

    Description

    Velázquez’s abilities as both painter and observer make him one of the great portraitists of Western painting; this early work is among his most incisive psychological studies. Painted during Velázquez’s first trip to court, this portrait may well have led to his first royal commission and swift appointment as a court painter. Gongora, one of Spain’s leading poets, had become cynical and embittered during his years at court. The painter shapes his formidable head with broad, smoothly blended brushstrokes that create both the form and texture of Gongora’s features, his tight, downturned mouth, and guarded gaze.

    Provenance

    1622, painted in Madrid, probably at the request of Francisco Pacheco (b. 1564 - d. 1644) [see note 1]. 1660, probably with the artist [see note 2]. By 1677, Gaspar de Haro y Guzmán (b. 1629 - d. 1687), 7th Marqués del Carpio, Madrid [see note 3]; 1690s, sold from the Carpio estate to Nicolás Nepata [see note 4]. Marqués Benigno de la Vega Inclán y Flaquer (b. 1858 - d. 1942), Madrid. Private collection, Paris [see note 5]. By 1931, Tomas Harris Ltd., London; 1932, sold by Harris to the MFA for $34,000. (Accession Date: March 3, 1932) NOTES: [1] Velázquez began his career in the studio of Pacheco, a painter and writer, and eventually married his daughter, Juana. Although Pacheco asked Velázquez to paint the portrait, its early history has not been established. It is not known whether Velázquez took it back with him to Seville; this painting or a copy after it must have remained in Madrid, where it served as the basis for several copies. [2] A portrait of Gongora is listed, without the artist's name, in the inventory of Velázquez's property made at his death in 1660 (no. 179). [3] A portrait of Gongora by Velázquez appears in the 1677 inventory of the Marqués del Carpio (no. 102); see Enriqueta Harris, " 'Las Meninas' at Kingston Lacy," Burlington Magazine 132 (1990): 130, as well as the posthumous inventory drawn up at his residence at the Jardín de San Joaquin in 1689; see Marcus B. Burke and Peter Cherry, Collections of Paintings in Madrid, 1601-1755 (Los Angeles: Getty Provenance Index, 1997), part 1, doc. 115, p. 837 (no. 106). [4] According to José López-Rey, Velazquez: The Artist as a Maker (Lausanne and Paris: Bibliothèque des Arts, 1979), p. 235, cat. no. 25, the portrait continued to appear in Carpio's posthumous inventories (1692 and 1693) as "sold" and the buyer was Nepata, who bought a number of paintings from the estate. [5] August L. Meyer, "Einige unbekannte Arbeiten des Velazquez," Zeitschrift für bildende Kunst 56 (1921): p. 36, fig. 3, first published the work as being in a private collection. Whether the Vega Inclan collection was intended is not known. When the painting was included in "An Exhibtion of Old Masters by Spanish Artists" (Tomas Harris, Ltd., London, June, 1931), p. 1, it was said to have come the collection of the Marques de la Vega Inclan and "a private collection in Paris."

    Credit Line

    Maria Antoinette Evans Fund

    Details

    Dimensions

    Height x width: 19 3/4 x 16 in. (50.2 x 40.6 cm) Framed: 71.1 x 51.4 cm (28 x 20 1/4 in.)

    Accession Number

    32.79

    Medium or Technique

    Oil on canvas

    On View

    European Painting Gallery (Gallery 249)

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  • Tomb in North Africa

    Mariano José Maria Bernardo Fortuny y Carbó (Spanish, 1838–1874)

    Description

    Inscription

    Stamped, lower left: Fortuny

    Provenance

    1869, sold in France (?) [see note 1]. 1934, Wickliffe Draper (b. 1891 - d. 1972); 1934, gift of Wickliffe Draper to the MFA. (Accession Date: February 1, 1934) NOTES: [1] On the reverse of the painting's paperboard support is handwritten "Marianno [sic] Fortuny \ 1859 \ acquis en 1869 de ..."

    Credit Line

    Gift of Wickliffe Draper

    Details

    Dimensions

    15.8 x 23.5 cm (6 1/4 x 9 1/4 in.)

    Accession Number

    34.31

    Medium or Technique

    Oil on paperboard

    Not On View

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  • Saint Onophrius

    1642
    Jusepe de Ribera (Spanish (active in Italy), 1591–1652)

    Description

    Ribera painted many half-length images of saints for Catholic patrons, most likely for private worship. Here he rendered the hermit Saint Onophrius—unkempt, wearing a loincloth of leaves—with great realism: dirty fingernails, hollowed cheeks, flesh sagging from his emaciated frame. The monochromatic palette reinforces the subject’s asceticism and piety. In the foreground, the skull is a memento mori, or symbolic reminder of human mortality, an additional admonishment to the devout viewer.

    Inscription

    Lower center: Jusepe de Ribera es / panol F 1642

    Provenance

    1644, possibly acquired by Cardinal Carlo de' Medici (b. 1595 - d. 1666), Florence [see note 1]; possibly given by Carlo de Medici to Carlo Gerini (b. 1616 - d. 1673), Florence[see note 2]; until the 19th century, by descent within the Gerini family [see note 3]. William Ward, 1st Earl of Dudley (b. 1817 - d. 1885), London; June 16, 1900, posthumous Earl of Dudley sale, Christie, Manson and Woods, London, lot 52, to S. T. Smith for £8.8. 1910, possibly Blakeslee Galleries, New York; 1910, possibly sold by Blakeslee to Frank Gair Macomber (b. 1849 - d. 1941), Boston [see note 4]; 1936, gift of Frank Gair Macomber to the MFA. (Accession Date: November 15, 1936) NOTES: [1] In 1644 Carlo de' Medici acquired two paintings depicting Saint Mary of Egypt and Saint Jerome by Ribera. See: Elena Fumagalli "Le 'Ambiguita' di Pietro da Cortona e la prima attività di Ciro Ferri," Paragone (1997) no.13 pp 54,70,n141. The MFA painting has been identified as both Saint Jerome and Saint Onophrius throughout its history and it is possible that the two paintings Carlo de'Medici acquired are the ones that made their way to the Gerini collection. [2] As suggested by Maria Teresa di Dedda (email to the MFA, March 1, 2010). [3]This painting and a companion, St. Mary of Egypt by Ribera (now Montpellier, Musée Fabre) were recorded in the 1673 posthumous inventory of Carlo Gerini. The two paintings were listed together in an inventory of the Palazzo Gerini in 1733. The paintings were engraved by Carlo Fauccio based on drawings by Niccolo Magni and were published along with other engravings of paintings in the Gerini Collection in 1786. The Gerini collection was dispersed in the 19th century. See: Maria Teresa di Dedda "Volterrano, Rosa, Mehus, Dolci, Borgognone e la quadreria del Marchese Carlo Gerini (1616-1673). Documenti e dipiniti inediti" Storia dell'Arte (2008) no. 119 pp 35,39,43,63 [4] In 1910, Blakeslee sold Macomber a painting by Ribera, which he lent to the MFA. In his correspondence with Arthur Fairbanks of the MFA (February 3, 1910), Macomber does not specify the painting's subject, only the dimensions of its frame: 75 x 95 in. However, it is certain that Mrs. Frank Gair Macomber lent this painting to the exhibition "Spanish School: Loan Collection" (Boston, Copley Society, 1912), no. 42 (as "Saint Jerome").

    Credit Line

    Gift of Frank Gair Macomber

    Details

    Dimensions

    129.5 x 101.3 cm (51 x 39 7/8 in.)

    Accession Number

    36.891

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Mass of Saint Gregory

    Nicolás Francés (Spanish, active in 1434–died in 1468)

    Description

    Provenance

    1936, Frank Gair Macomber (b. 1849 - d. 1941), Boston; 1936, gift of Frank Gair Macomber to the MFA. (Accession Date: November 15, 1936)

    Credit Line

    Gift of Frank Gair Macomber

    Details

    Dimensions

    35.6 x 23.8 cm (14 x 9 3/8 in.)

    Accession Number

    36.895

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin and Child Enthroned

    Jaume Mateu (Spanish (Valencian), documented 1402–1452), Formerly attributed to Andrés Marzal de Sas (Spanish (Valencian), active in 1393–1410)

    Description

    Provenance

    By 1909 until at least 1922, Celestin Dupont, Barcelona [see note 1]. Count Capogrossi Guarna, Rome [see note 2]. 1936, A. S. Drey, New York; 1937, Paul Drey, New York; 1937, sold by Drey to the MFA for $2750. (Accession Date: April 1, 1937) NOTES: [1] Many thanks to Clara Beltrán for passing along this information. [2] According to dealer Paul Drey.

    Credit Line

    Herbert James Pratt Fund

    Details

    Dimensions

    194.6 x 87.6 cm (76 5/8 x 34 1/2 in.)

    Accession Number

    37.328

    Medium or Technique

    Tempera on panel

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  • Saint Francis

    about 1640–45
    Francisco de Zurbarán (Spanish, 1598–1664)

    Description

    Zurbarán was renowned as a painter of large-scale religious images, greatly in demand for churches and monasteries throughout Spain and the New World. Zurbarán’s colors are restrained and his compositions rigorously simple; this austerity, combined with precise detail and strong, theatrical lighting, gives his sacred figures an intense, almost mystical presence. This image may, in fact, represent a vision reportedly seen by Pope Nicholas V two hundred years after Saint Francis’s death in 1226: the undecayed body of the saint standing in his burial crypt as though living.

    Provenance

    1823, acquired in Madrid by William à Court (b. 1779 - d. 1860), 1st Baron Heytesbury, Heytesbury House, Wiltshire [see note 1]; by descent within the family to Margaret Anna (d. 1920), Lady Heytesbury; April 27, 1926, Lady Heytesbury estate sale, Hampton and Sons, Heytesbury, lot 1358, sold for £21. 1931, with Tomás Harris, Ltd., London [see note 2]. By 1935, Julius Böhler, Böhler and Steinmeyer, Lucerne [see note 3]; 1938, sold by Böhler and Steinmeyer to the MFA for $3502.50. (Accession Date: November 10, 1938) NOTES: [1] See Martin S. Soria, The Paintings of Zurbarán: Complete Edition (London: Phaidon, 1953), p. 179, cat. no. 184. William à Court was ambassador to Spain from 1822 to 1824. [2] The MFA painting was exhibited at Tomás Harris, Ltd., London, in 1931 ("Old Masters by Spanish Artists," June 1931), though whether Harris owned it, or it was on loan from Böhler (see below, n. 3), has not been determined. [3] Julius Böhler lent the painting to the exhibition "Alte und neue spanische Kunst" (Kunstverein, Hamburg, August-September, 1935), cat. no. 27. When asked about its provenance, Fritz Steinmeyer wrote (letter to the MFA; November 25, 1938) that the firm had bought it in 1927 from an English dealer, who had acquired it from a French private collection. Two other paintings by Zurbarán, also included in the Heytesbury sale of 1926, are documented as being owned by Böhler in 1927. However, because the MFA painting is not known ever to have been in a French collection, Steinmeyer's information is, at least in part, erroneous. According to Juan Antonio Gaya Nuño, La Pintura Española fuera de España (Madrid, 1958), p. 344, cat. no. 3107, the MFA painting was purchased at the Heytesbury sale in 1926 by Tomás Harris, who sold it in 1931 to Böhler and Steinmeyer. This has not been substantiated, however, and the painting's provenance between 1926 and 1935 remains unclarified.

    Credit Line

    Herbert James Pratt Fund

    Details

    Dimensions

    207.0 x 106.7 cm (81 1/2 x 42 in.)

    Accession Number

    38.1617

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Officer on Horseback

    Follower of Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    Provenance

    Until 1929, Mrs. Henry Osborne Havemeyer (Louisine Waldron Elder) (d. 1929), New York; April 10, 1930, Havemeyer sale, American Art Association, New York. Ehrich Galleries, New York. About 1935, Julius H. Weitzner, London and New York; about 1937, sold by Weitzner to Mr. T.E. Hanley, Bradford, PA; 1939, sold by Hanley to Julius H. Weitzner, London and New York; 1939, exchanged by Weitzner with the MFA. (Accession Date: October 11, 1939)

    Credit Line

    The Henry C. and Martha B. Angell Collection, by exchange

    Details

    Dimensions

    94.3 x 76.5 cm (37 1/8 x 30 1/8 in.)

    Accession Number

    39.748

    Medium or Technique

    Oil on canvas

    Not On View

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  • Altarpiece of Saints Michael and Anthony Abbot

    Martín de Soria (Spanish (Aragonese), active about 1450–1487)

    Description

    This type of elaborately carved and painted altarpiece, called a retable, is found throughout Spain. While Martín painted much larger examples, incorporating many more tiers of panels, this is typical of Aragonese retables in its format and subject matter. The scenes from saints’ lives and the Passion, the events leading up to and following the death of Christ on the cross, were often selected by the patron of the altarpiece, as were the size and elements of the frame. This altarpiece is dedicated to Saints Michael and Anthony Abbot, an archangel who conquered evil and a monk who overcame temptation.

    Provenance

    Madrazo collection, Madrid [see note 1]. Karl Kuffner de Diószegh (b. 1847 - d. 1924), Diószegh, Hungary (Sládkovicovo, present-day Slovakia); by descent within the family to Raoul Kuffner (b. 1886 - d.1961), Diószegh and New York; about 1941, probably sold by Kuffner to Paul Drey, New York; 1942, sold by Drey to the MFA for $5750. (Accession Date: February 12, 1942) NOTES: [1] The Madrazo family's collection included some of the most important artists in 19th century Spain.

    Credit Line

    Herbert James Pratt Fund

    Details

    Dimensions

    Overall: 256.5 x 185.5cm (101 x 73 1/16in.) Central panel: 200.5 x 80cm (78 15/16 x 31 1/2in.) Left panel: 166 x 53 cm (65 3/8 x 20 7/8in.) Right panel: 166.5 x 53cm (65 9/16 x 20 7/8in.) Predella: 40.5 x 34.5cm (15 15/16 x 13 9/16in.)

    Accession Number

    42.42

    Medium or Technique

    Tempera on panel with parchment ground

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  • Castilian Landscape

    1909
    Ignacio Zuloaga y Zabaleta (Spanish, 1870–1945)

    Description

    Inscription

    Lower right: I. Zuloaga

    Provenance

    Probably about 1909/1914, sold by the artist to Harriet Travers (Mrs. George Richmond) Fearing (b. 1849 - d. 1931), Sr., Paris and Boston [see note 1]; by descent to her son, George R. Fearing, Jr. (b. 1871), Boston; 1942, gift of George R. Fearing to the MFA. (Accession Date: December 10, 1942) NOTES: [1] According to information provided by Mrs. George R. Fearing, Jr., on February 6, 1943. Mrs. George Fearing, Sr. lived in Paris from 1894 to 1914 and was a friend of the artist.

    Credit Line

    Gift of George R. Fearing

    Details

    Dimensions

    57.5 x 61.3 cm (22 5/8 x 24 1/8 in.)

    Accession Number

    42.571

    Medium or Technique

    Oil on canvas

    Not On View

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  • Flight into Egypt

    Master of the Schretlen Circumcision (Spanish (Andalusian), active in early 16th century)

    Description

    Provenance

    By 1930, Eugenio Terol, Madrid; 1930, from Terol to Margaret Palmer, Madrid; 1930, Eugene C. Coulter (buying through Palmer); 1944, by inheritance to Coulter's children, Mrs. Albert S. Bonner (Evelyn B. Coulter), Eliot B. Coulter, Arlington, Dr. Helen B. Coulter, and Mrs. Roberts Parsons; 1944, gift of Bonner, Coulter, Coulter and Parson. (Accession Date: October 17, 1944)

    Credit Line

    Gift of Mrs. Albert S. Bonner, Dr. Helen B. Coulter, Mrs. Robert Parsons, and Mr. Eliot B. Coulter, in memory of their parents, Mr. and Mrs. Eugene C. Coulter

    Details

    Dimensions

    118.1 x 91.5 cm (46 1/2 x 36 in.)

    Accession Number

    44.756

    Medium or Technique

    Oil transferred from panel to canvas mounted on Masonite

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  • Altarpiece of Saint Peter

    about 1480
    Martín de Soria (Spanish (Aragonese), active about 1450–1487)

    Description

    The monumental scale of this elaborate work is typical of Spanish altarpieces of the period. The altarpiece comprises a complex arrangement of twenty-six paintings. Enthroned as pope and attended by cardinals, the majestic figure of Saint Peter is flanked by four scenes relating to his life. A depiction of Christ’s Crucifixion occupies its traditional place of honor in the central panel located directly above Saint Peter. To either side, the artist depicts events from the lives of the Virgin and St. Blaise, a fourth-century martyr. At some time in its history, the altarpiece was dismantled, but its components were reassembled in the present form in the nineteenth century.

    Provenance

    Until 1904, Somzée Collection, Brussels; May 24 - June 11, 1904, Somzée sale, Galerie Fievez, Brussels, lot 529. By 1924 until at least 1925, private collection [see note 1]. 1928, with Wildenstein and Co., New York; 1928, sold by Wildenstein to William Randolph Hearst for the International Studio Corporation, New York [see note 2]; 1928 until at least 1939, International Studio Corporation. By 1946, Robert Hall McCormick; 1946, gift of Robert Hall McCormick, through Miss Elizabeth Day McCormick, to the MFA. (Accession Date: September 12, 1946) NOTES: [1] The altarpiece was lent by a private collector to the Archiepiscopal Museum, Utrecht, in 1924 and was still there in 1925, as discussed in "Het Gildeboek," 7 (October, 1924): pp. 96-97 and 8 (October, 1925): p. 83. [2] The International Studio Corporation was a Hearst-owned company that had the responsibility of uncrating, cataloguing, storing, and shipping art objects Mr. Hearst had purchased.

    Credit Line

    Gift of Robert Hall McCormick

    Details

    Dimensions

    Maximum framed dimensions: 502.92 x 579.76 cm (198 x 228 1/4 in.)

    Accession Number

    46.856

    Medium or Technique

    Tempera on panel with parchment ground

    Not On View

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  • Portrait of a Young Man in Brown, possibly Javier Goya

    about 1810-1815
    Attributed to Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    Provenance

    Javier Goya y Bayeu (b. 1784–d. 1854) or Mariano Goya y Goicoechea (b. 1806–d. 1874), Madrid; sold by Javier or Mariano Goya to José, Marqués de Salamanca (b. 1811 - d. 1883), Madrid [see note 1]; June 3-6, 1867, Salamanca sale, Paris, lot 172, withdrawn; January 26, 1875, Salamanca sale, Hotel Drouot, Paris, lot 11 [see note 2]. By 1885, M. Bamberger, Paris [see note 3]; March 17, 1923, Bamberger sale, Hotel Drouot, Paris, lot 49, to Trotti et Cie., Paris. 1924, Yves Perdoux, Paris [see note 4]. 1926, Goudstikker, Amsterdam (stock no. 1667) [see note 5]. 1927, Howard Young Galleries, New York (stock no. 2573); 1927, sold by Howard Young Galleries to John Taylor Spaulding (b. 1870 - d. 1948), Boston; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] A wax seal on the reverse of the painting stretcher bears the Salamanca coat-of-arms. In the two Salamanca sale catalogues (1867 and 1875) this painting's provenance is given as the "Galerie de Goya" (i.e., the collection of either Javier or Mariano Goya, the artist's son and grandson). Known at the time as a portrait of Manuel Garcia, the celebrated tenor, this was one of eight paintings attributed to Goya sold by the artist's family to the marqués; see F. Hernandez Girbal, José de Salamanca, Marqués de Salamanca (Madrid, 1963), pp. 547 and 552, and Pierre Gassier and Juliet Wilson, The Life and Complete Work of Francisco Goya (New York, 1971), p. 167, cat. no. 837. Pedro Navascues Palacio, Un palacio romántico (Madrid, 1983), p. 72, specifies the seller as Javier. [2] For more on the Salamanca sales, see Hernandez Girbal (as above, n. 1), pp. 551-554. [3] He lent the painting to the Deuxième Exposition de Portraits du Siècle (École des Beaux-Arts, Paris, 1885), cat. no. 108. [4] According to a written authentication provided by August L. Mayer (May 4, 1926, in curatorial file); "Mr. Perdoux" is also written on the reverse of the painting stretcher. In his book Francisco de Goya (London, 1924), Mayer erroneously states that the portrait is signed "D. Fr. Goya 1815" but that he has not seen the signature. In his authentication of 1926, Mayer cites the source of this information as the Salamanca sale catalogue, but there is no indication in either catalogue of a signature or date on the painting. This error has been repeated in subsequent literature. [5] According to a label on the reverse of the painting stretcher. It was also included in the exhibition "Collection Goudstikker, Amsterdam. 10e exposition" (Pulchri Studio, The Hague, March 13 - April 4, 1926), cat. no. 54, ill.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Catalogue Raisonné

    G&W 837; Gu 647

    Dimensions

    81.3 x 58.1 cm (32 x 22 7/8 in.)

    Accession Number

    48.558

    Medium or Technique

    Oil on canvas

    Not On View

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  • Virgin and Child Enthroned with Saints Valerius and Vincent

    Bonanat Zaortiga (Spanish (Aragonese), active about 1420–1450)

    Description

    Provenance

    By 1913, Mrs. Henry D. Burnham, Boston, MA; 1945, from Burnham to Keith McLeod, Boston, MA; 1952, bequest of McLeod (formerly as Aragonese school). (Accession date: October 16, 1952)

    Credit Line

    Bequest of Keith McLeod

    Details

    Dimensions

    198.1 x 219 cm (78 x 86 1/4 in.)

    Accession Number

    52.1523a

    Medium or Technique

    Tempera on panel

    Not On View

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  • Virgin & Child Enthroned with Ss Valerius & Vincent

    Bonanat Zaortiga (Spanish (Aragonese), active about 1420–1450)

    Description

    Provenance

    By 1913, Mrs. Henry D. Burnham, Boston, MA; 1945, from Burnham to Keith McLeod, Boston, MA; 1952, bequest of McLeod (formerly as Aragonese school). (Accession date: October 16, 1952)

    Credit Line

    Bequest of Keith McLeod

    Details

    Accession Number

    52.1523b

    Medium or Technique

    Tempera on panel

    Not On View

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    Europe

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  • Virgin & Child Enthroned with Ss Valerius & Vincent

    Bonanat Zaortiga (Spanish (Aragonese), active about 1420–1450)

    Description

    Provenance

    By 1913, Mrs. Henry D. Burnham, Boston, MA; 1945, from Burnham to Keith McLeod, Boston, MA; 1952, bequest of McLeod (formerly as Aragonese school). (Accession date: October 16, 1952)

    Credit Line

    Bequest of Keith McLeod

    Details

    Accession Number

    52.1523c

    Medium or Technique

    Tempera on panel

    Not On View

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    Europe

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  • Christ after the Flagellation

    after 1665
    Bartolomé Esteban Murillo (Spanish, 1617–1682)

    Description

    Murillo was known for his intense renderings of religious martyrdom and ecstasy and for the sensuous beauty of his paint. Here, the artist has focused exclusively on Christ’s suffering, choosing a moment after his tormentors have left the scene. Murillo’s image depicts the human yet divine nature of Christ. The artist has placed him humbly upon the ground and painted his battered body so that his skin seems almost radiant, despite its wounds and sores. The angels display both adoration and compassion for the tortured Christ, the emotions the image was intended to arouse in its viewers.

    Provenance

    Late 18th century, acquired by Noel Joseph Desenfans (b. 1744 - d. 1807), London; March 16-18, 1802, Desenfans sale, Skinner and Dyke, London, lot 181, sold for £ 39.18, probably to Jean-Baptiste-Pierre Le Brun (b. 1748 - d. 1813), Paris; August 10-13, 1803, Le Brun sale, Paris, lot 26, sold to Pierre-Joseph Lafontaine (b. 1758 - d. 1835), Paris, for 953 fr. 1850, probably Louis, Marquis de Montcalm (d. 1862), Montpellier, France; March 24, 1850, Montcalm sale, Montpellier, lot 15. 1855, probably Samuel M. Mawson (b. 1793 - d. 1862), London; May 19, 1855, Mawson sale, Christie's, London, lot 87. Peter Norton (d. by 1868), dealer, London. By 1883, Francis Cook, 1st Bart. (b. 1817 - d. 1901), Doughty House, Surrey; by inheritance to his son, Frederick Lucas Cook, 2nd Bart. (b. 1844 - d. 1920), Doughty House; by inheritance to his son, Herbert Frederick Cook, 3rd Bart. (b. 1868 - d. 1939), Doughty House. 1952, Jacques Seligmann and Co., New York; 1953, sold by Seligmann to the MFA for $23,800. (Accession Date: January 1, 1953)

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    113 x 147.3 cm (44 1/2 x 58 in.)

    Accession Number

    53.1

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Standing Figure

    1908
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    This painting of a nude woman with her arms crossed behind her head was created during a key period of invention and experimentation, as Picasso began to construct his paintings in a new way. The figure is translated into simplified, geometric forms, reflecting Picasso’s interest in the art of Africa and Oceania. Using only a few colors, he focuses our attention on the intersection of these forms, linking figure and ground in a dynamic, curving rhythm.

    Inscription

    Reverse of original support: Picasso

    Provenance

    1909, sold by the artist to Daniel-Henry Kahnweiler (b. 1884 - d. 1979), Paris [see note 1]; June 13-14, 1921, Kahnweiler sale, Hotel Drouot, Paris, lot 83, to "Winberg" [see note 2]. Possibly Carroll Carstairs (dealer; b. 1888 - d. 1948), New York [see note 3]. Private collection, Paris. By 1958, Galerie Nathan, Zurich; 1958, sold by Galerie Nathan to MFA. (Accession Date: October 9, 1958) NOTES: [1] According to letters of March 7, 1961 and March 18, 1961 from Kahnweiler to Mrs. Emay Buck of the MFA in curatorial file. This painting was among the possessions of Kahnweiler that were sequestered by the French government as legalized retribution against German citizens in the wake of World War I. [2] The buyer's name is annotated in a copy of the auction catalogue (reproduction in MFA curatorial file). [3] According to information provided by the Galerie Nathan, which has not yet been corroborated, dealer Carroll Carstairs may have owned the painting, or a share in the painting. At the time the painting was purchased, it was said to come from a private collection in Paris.

    Credit Line

    Juliana Cheney Edwards Collection

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    150.2 x 100.3 cm (59 1/8 x 39 1/2 in.)

    Accession Number

    58.976

    Medium or Technique

    Oil on canvas

    On View

    Saundra B. and William H. Lane Galleries (Gallery 328)

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  • The Young Christ as the Good Shepherd

    Workshop of Bartolomé Esteban Murillo (Spanish, 1617–1682)

    Description

    Provenance

    1844, Jeremiah Harman (b. 1764 - d. 1844), London; May 17-18, 1844, posthumous Harman sale, Christie's, London, lot 31, to Mr. Stewart for £294; by descent to his son, Colonel William Stewart [see note 1]. With Paul Bottenwieser, Berlin (?) [see note 2]. By 1954, Rudolf J. Heinemann (d. 1975) and Lore (Mrs. Rudolf J.) Heinemann (d. 1996), New York [see note 3]; 1958, gift of Mr. and Mrs. Rudolf J. Heinemann to the MFA. (Accession Date: December 30, 1958) NOTES: [1] At the time of the painting's acquisition, Harry A. Brooks of Knoedler, New York, wrote to Rudolf Heinemann (December 19, 1958) that the it was well-known, having belonged to Colonel Drax and the Royal Collections of France, and having "appeared at an auction in 1911." The dealer Frederick Mont also wrote (December 15, 1958) that the painting was well known to him, and that it had been in the collections of Colonel Drax and Louis Philippe. These details have not been substantiated; however, in 1791, Louis-Philippe-Joseph (b. 1747 - d. 1793), Duc d'Orléans, sold a large group of paintings to Edouard Walkiers, a Brussels banker, for François de Laborde-Méréville. Méréville emigrated to England and sold the collection to Jeremiah Harman in 1793. Whether this painting was among the group of works is not known. It is, however, plausibly identified with Murillo's "Good Shepherd" sold in the Harman auction to Stewart. See Charles B. Curtis, "Velazquez and Murillo" (London, 1883), p. 187, nos. 173g - 173h and p. 385. [2] A label on the reverse of the painting stretcher from the packing company Chenue, London, reads "Bottenwieser \ (Heinemann)." "P B" (Paul Bottenwieser?) is also written twice on the stretcher. Whether Bottonwieser played a role in the exhibition or sale of this painting is not known. The painting stretcher bears customs stamps from France and Switzerland. [3] Rudolf Heinemann consigned the painting to M. Knoedler and Co. on December 21, 1954, no. CA4720. Commission book 5a, no. 4720, p. 96 (Getty Provenance Index, M. Knoedler and Co. Records).

    Credit Line

    Gift of Mr. and Mrs. Rudolf J. Heinemann

    Details

    Dimensions

    55 x 39.7 cm (21 5/8 x 15 5/8 in.)

    Accession Number

    58.1425

    Medium or Technique

    Oil on canvas

    Not On View

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  • Still Life with Sweetmeats

    Unidentified artist, Spanish, 17th century (Spanish)

    Description

    The friezelike arrangement of tipped and propped confections suggests a display in a shop window. The boxes hold glazed fruit and candy and sticks of brown sugar; in the center is a broken piece of gingerbread. At the time this picture was painted, Spanish colonies on the islands of the Caribbean led the world in the production and export of sugar. Rare and expensive, sugar was available only to the privileged few, and this modest image by an unknown artist may have been understood as a status symbol or even as a proud reminder of Spain’s preeminence among European powers.

    Provenance

    Anonymous collection, Spain. Anonymous dealer, Switzerland; sold by this dealer to Frederick Mont, New York; 1962, sold by Mont to the MFA for $7,000 [see note 1]. (Accession Date: February 14, 1962) NOTES: [1] In a letter to the MFA (October 26, 1962), Mont said that "the painting comes from Spain. We purchased it from an agent in Switzerland."

    Credit Line

    M. Theresa B. Hopkins Fund

    Details

    Dimensions

    39.7 x 72.1 cm (15 5/8 x 28 3/8 in.)

    Accession Number

    62.172

    Medium or Technique

    Oil on canvas

    Not On View

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  • Rape of the Sabine Women

    1963
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    Painted when he was eighty-two, this is Picasso’s last major statement about the horrors of war, perhaps inspired by the Cuban missile crisis. Here, Picasso transforms a familiar subject from the art of the past-the story of early Romans who, suffering a shortage of marriageable women, invited the neighboring Sabines to Rome and then carried off all their young women. Against a sunny background of blue sky and green fields, the overlapping forms of grotesquely distorted figures are compressed into the foreground space, the horses and soldiers trampling a woman and her child.

    Inscription

    Upper right: Picasso; Reverse: 4.1.63. / 10. / 11. / 12. / 13. / 14. / 15. / 16. / 17. / 18. / 19. / 20. / 21. / 22. / 23. / 25. / 26. / 28. / 29. / 31. / 2.2.63. / 7. (in irregular columns)

    Provenance

    Probably sold by the artist to the Galerie Louise Leiris, Paris [see note 1]; 1964, sold by the Galerie Leiris to M. Knoedler and Co., New York (stock no. A8624); 1964, sold by Knoedler to the MFA. (Accession Date: May 13, 1964) NOTES: [1] It was included in the exhibition "Picasso Peintures 1962-1963" (Galerie Louise Leiris, Paris, January 15 - February 15, 1964), cat. no. 17.

    Credit Line

    Juliana Cheney Edwards Collection, Tompkins Collection—Arthur Gordon Tompkins Fund, and Fanny P. Mason Fund in memory of Alice Thevin

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    195.3 x 131.1 cm (76 7/8 x 51 5/8 in.)

    Accession Number

    64.709

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Albright-Knox Art Gallery, November 5, 2016 – February 19, 2017

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    Contemporary Art, Europe

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  • Still Life with a Guitar

    1925
    Juan Gris (Spanish (worked in France), 1887–1927)

    Description

    One of the leading Cubists, Gris always resisted the extreme fragmentation of form seen in the early Cubism of Picasso and Braque. In his still lifes of the 1920s Gris’s aspiration towards a pure, “classical” Cubism is revealed in the clarity of his treatment of objects. In 1921 he remarked: “I work with the elements of the intellect, with the imagination. I try to make concrete that which is abstract. I proceed from the general to the particular, by which I mean that I start with an abstraction in order to arrive at a true fact.”

    Inscription

    Lower left: Juan Gris 25

    Provenance

    1925, Galerie Simon, Paris (stock no. 9011); November 20, 1925, sold by the Galerie Simon to Gottlieb Friedrich Reber (b. 1880 - d. 1959), Lausanne; by 1933, sold by Reber to Paul de Frassari Adamidi Bey (b. 1901/02 - d. mid-1980s), Geneva [see note 1]. 1951, with the Galerie Charpentier, Paris (?) [see note 2]. Galerie Kleinmann, Paris. By 1960, George David Thompson (b. 1899 - d. 1965), Pittsburgh [see note 3]. Silberman Galleries, New York (?) [see note 4]. 1961, Joseph Pulitzer, Jr., St. Louis, MO; 1967, gift of Pulitzer to the MFA. (Accession Date: December 13, 1967) NOTES: [1] Gottlieb Friedrich Reber was an important collector of Cubist art who purchased twenty-eight pictures by Gris at the Galerie Simon on November 20, 1925. He sold this painting to Paul de Frassari Adamidi Bey; see Dorothy Kosinksi, "G. F. Reber: collector of Cubism," Burlington Magazine 133 (August 1991): p. 530. Bey lent the painting to the exhibition "Juan Gris," Kunsthaus, Zurich, April 2-26, 1933, cat. no. 127. [2] According to Douglas Cooper, "Juan Gris, catalogue raisonné de l'oeuvre peint," vol. 2 (Paris, 1977), cat. no. 531, p. 356, the painting was included in the exhibition "Natures Mortes Françaises," Galerie Charpentier, Paris, 1951 (cat. no. 78, "La guitarre," no lender named). [3] According to information provided by the Beyeler Gallery, Basel (August 4, 2004), Thompson consigned the work to the gallery and it was returned to him. While on consignment, the painting was included in the exhibition "Thompson Collection," Kunsthaus, Zurich (October 15 - November 27, 1960); Kunstmuseum, Düsseldorf (December 14, 1960 - January 29, 1961); and Gemeentemuseum, The Hague (February 17 - April 9, 1961). [4] "Silberman" is written in chalk on the reverse of the painting stretcher.

    Credit Line

    Gift of Joseph Pulitzer, Jr.

    Details

    Dimensions

    73 x 94.6 cm (28 3/4 x 37 1/4 in.)

    Accession Number

    67.1161

    Medium or Technique

    Oil on canvas

    Not On View

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  • Stuffed Shirts (Les Plastrons)

    1900
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    Inspired by the café-concerts and music halls he visited during his second trip to Paris, here the young Picasso captured, in the vein of Degas and Toulouse-Lautrec, the spectacle of modern entertainment.

    Inscription

    Upper left: PR Picasio [sic]

    Provenance

    1901, possibly Eugène Blot (b. 1857), Paris [see note 1]. By 1931, Josef Stransky (b. 1872 - d. 1936), New York; 1936, after Stransky's death, consigned to Wildenstein and Co., London [see note 2]. By 1969, Julia Appleton (Mrs. Charles Sumner) Bird (b. 1894 - d. 1983), East Walpole, MA; 1970, gift of Mrs. Charles Sumner Bird to the MFA. (Accession Date: March 26, 1970) NOTES: [1] This may be the painting lent by Eugène Blot to the Galerie Ambroise Vollard, June 25-July 14, 1901, no. 54 ("Chanteuse"). Ralph Flint, "The Private Collection of Joseph Stransky," Art News 29, no. 33 (May 16, 1931), p. 88, gives the provenance of the painting as Blot, Paris. [2] Exhibited at " 'Collection of a Collector': Modern French Paintings from Ingres to Matisse (The Private Collection of the late Josef Stransky," Wildenstein, London, July 1936, cat. no. 28.

    Credit Line

    Gift of Mrs. Charles Sumner Bird (Julia Appleton Bird)

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    13.6 x 22.5 cm (5 3/8 x 8 7/8 in.)

    Accession Number

    1970.475

    Medium or Technique

    Oil on panel

    Out on Loan

    On display at Bellagio Gallery of Fine Art, Las Vegas, September 23, 2016 – February 20, 2017

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  • Portrait of a Woman

    1910
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    Cubism, the watershed style invented by Picasso and Georges Braque, created a new and ambiguous relationship between three-dimensional form and the flat surface of the canvas. In austere, monochrome paintings, Picasso dissolved the language of pictorial representation into its basic elements of line, light, and shade, creating a subtly shifting grid that animates the entire canvas. The figure merges with the ground, but never entirely vanishes. Such clues as the hair at top left and the long face identify this portrait, while the right angles rising up in the background may represent paintings stacked against the studio wall.

    Provenance

    By 1929-30, Earl Horter (b. 1881 - d. 1940), Philadelphia [see note 1]; 1934, sold by Horter to Mrs. Gilbert W. Chapman (Elizabeth Fuller Goodspeed) [see note 2], New York; 1977, sold by Chapman to the MFA. (Accession Date: February 9, 1977) NOTES: [1] It is uncertain when Mr. Horter purchased Portrait of a Woman (1910), however the painting was shown hanging in his living room in a photograph dated to 1929-30 and reproduced in the Philadelphia Museum of Art’s catalogue for the exhibition: “Mad for Modernism: Earl Horter and his Collection" (1934). [2] The MFA curatorial files contain a signed and dated declaration by Mrs. Chapman attesting to the date of purchase from Mr. Horter as 1934.

    Credit Line

    Charles H. Bayley Picture and Painting Fund and Partial gift of Mrs. Gilbert W. Chapman

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    100.6 x 81.3 cm (39 5/8 x 32 in.)

    Accession Number

    1977.15

    Medium or Technique

    Oil on canvas

    On View

    Saundra B. and William H. Lane Galleries (Gallery 328)

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    Europe

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  • Virgin and Child

    Luis de Morales (Spanish, about 1509–1586)

    Description

    The infant Jesus embraces his mother with his left arm while tenderly grasping at the ruff of her shirt with his right hand. This intimate painting is characteristic of Morales, who was heavily influenced by the works of Italian painters like Leonardo da Vinci, particularly in the careful modeling of flesh tones with deeply-set shadows. Numerous autograph versions of this composition exist, each retaining the same basic format but with subtle differences in the hands and heads. Here the Virgin gazes directly upon the viewer, while in later examples she is frequently more contemplative and downward-looking.

    Provenance

    By 1936, Misses Aimée and Rosamond Lamb, Boston [see note 1]; 1978, gift of Misses Aimée Lamb. (Accession Date: January 10, 1969) NOTES: [1] this work was lent by Aimee Lamb to the Fogg Museum, Harvard University (temporary loan number: 4169) from May 22, 1936-December 22, 1937.

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    46.0 x 34.6 cm (18 1/8 x 13 5/8 in.)

    Accession Number

    1978.680

    Medium or Technique

    Oil on panel

    Not On View

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  • Fishing on the Bank of the Oise, Pontoise

    Emilio Sánchez Perrier (Spanish, 1855–1907)

    Description

    Inscription

    Lower left: E Sanchez Perrier / Pontoise

    Provenance

    By 1978, Ira Spanierman, Inc., New York; 1979, sold by Spanierman to the MFA. (Accession Date: Janaury 10, 1979)

    Credit Line

    Fanny P. Mason Fund in memory of Alice Thevin

    Details

    Dimensions

    26.7 x 35 cm (10 1/2 x 13 3/4 in.)

    Accession Number

    1979.4

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Nuage et Oiseaux (Cloud and Birds)

    1927
    Joan Miró (Spanish, 1893–1983)

    Description

    André Breton, the poet and philosopher who served as the intellectual anchor of Surrealism declared Miró “the most surrealist of us all.” But while Miró was influenced by Surrealist ideas, he was not a central figure in the movement, having more strictly visual interests than many of the Surrealists. This work, with its cloud surrounded by calligraphic black scrawls and wispy strokes that hint of birds, dates from a period in Miró’s career when he was pushing ever closer to almost completely abstract works, often defined by broad areas of color and inhabited by strange “biomorphic” shapes.

    Inscription

    Lower right: Miro / 1927

    Provenance

    Galeria Maeght, Barcelona [see note 1]. 1973, Max Pellequer, Paris; June, 1973, sold by Pellequer to the Galerie Beyeler, Basel; July, 1973, sold by Beyeler to Giuseppe Nahmad, Galleria Internazionale, Milan. 1980, Davlyn Gallery, New York; 1980, sold by and exchanged with the Davlyn Gallery to the MFA. (Accession Date: June 18, 1980) NOTES: [1] A label from the Galeria Maeght can be found on the reverse of the painting's stretcher, with the number B 534 (or B 594).

    Credit Line

    Sophie M. Friedman Fund and Charles H. Bayley Picture and Painting Fund

    Copyright

    © 2011 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris

    Details

    Dimensions

    146 x 114 cm (57 1/2 x 44 7/8 in.)

    Accession Number

    1980.273

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Martyrdom of Saint Marta

    about 1740–42
    Antonio Gonzalez Velázquez (Spanish, 1723–1794)

    Description

    Provenance

    January 17-21, 1774, possibly in the Jean-Antoine Hubert sale, Remy, Paris, lot 4, sold to Marc-François Perrier for 299.19 livres [see note 1]. January 8, 1981, anonymous sale, Sotheby Parke Bernet, New York, lot 154 to Colnaghi for the MFA [see note 2]. (Accession Date: February 11, 1981) NOTES: [1] MFA accession nos. 1981.19 and 1981.20 may be the two paintings described in this catalogue as a martyr saint appearing before a bishop, and a the martyrdom of a female saint, by Corrado Giaquinto, on canvas measuring 19 by 27 inches. See Getty Provenance Index Databases, sale catalogue F-A1274 (and sale catalogue F-A245, possibly the same sale). The MFA compositions are based on canvases by Giaquinto in the church of S. Giovanni Calibita, Rome. [2] This painting and its companion were attributed to Corrado Giaquinto at the time of acquisition.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    52.1 x 73.7 cm (20 1/2 x 29 in.)

    Accession Number

    1981.19

    Medium or Technique

    Oil on canvas

    Not On View

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    Europe

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  • Saints Ippolito, Taurino, and Ercolano

    about 1740–42
    Antonio Gonzalez Velázquez (Spanish, 1723–1794)

    Description

    Provenance

    January 17-21, 1774, possibly in the Jean-Antoine Hubert sale, Remy, Paris, lot 4, sold to Marc-François Perrier for 299.19 livres [see note 1]. January 8, 1981, anonymous sale, Sotheby Parke Bernet, New York, lot 154 to Colnaghi for the MFA [see note 2]. (Accession Date: February 11, 1981) NOTES: [1] MFA accession nos. 1981.19 and 1981.20 may be the two paintings described in this catalogue as a martyr saint appearing before a bishop, and a the martyrdom of a female saint, by Corrado Giaquinto, on canvas measuring 19 by 27 inches. See Getty Provenance Index Databases, sale catalogue F-A1274 (and sale catalogue F-A245, possibly the same sale). The MFA compositions are based on canvases by Giaquinto in the church of S. Giovanni Calibita, Rome. [2] This painting and its companion were attributed to Corrado Giaquinto at the time of acquisition.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    52.7 x 74.3 cm (20 3/4 x 29 1/4 in.)

    Accession Number

    1981.20

    Medium or Technique

    Oil on canvas

    Not On View

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  • Battle of Otumba

    Manuel Rodriguez de Guzman (Spanish, 1818–1867)

    Description

    Inscription

    Lower right: M. Rodriguez Sevilla / 1842

    Provenance

    By 1981, heirs of Frederick Hastings and May K. Rindge [see note 1]; 1981, gift of Rindge heirs. (Accession Date: December 7, 1983) NOTES: [1] according to a letter of June 10, 1979 from Ronald L. Ridge to Theodore Stebbins of the MFA in curatorial files, this painting was first lent to the MFA on June 26, 1896, as part of the estate of Samuel Baker Ridge.

    Credit Line

    Gift of the heirs of Frederick Hastings Rindge and May K. Rindge

    Details

    Dimensions

    125.73 x 167.64 cm (49 1/2 x 66 in.)

    Accession Number

    1983.591

    Medium or Technique

    Oil on canvas

    Not On View

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  • Saint Bartholomew

    Unidentified artist, Spanish, 15th century (Spanish)

    Description

    Provenance

    Oakes Angier Ames (b. 1829 - d. 1899); by descent to his son, Hobart Ames (b. 1865), North Easton, MA; by descent to his niece, Katherine Harte (Mrs. George) Putnam (b. 1891), Manchester, MA; 1986, gift of Mrs. George Putnam to the MFA. (Accession Date: January 22, 1986)

    Credit Line

    Gift of Mrs. George Putnam

    Details

    Dimensions

    111.8 x 68.3 cm (44 x 26 7/8 in.)

    Accession Number

    1985.1019

    Medium or Technique

    Tempera on panel

    Not On View

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  • Annunciation

    about 1785
    Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    This painting, a sketch for a large altarpiece in a monastic chapel in Madrid, gives us a unique glimpse into Goya’s creative process. The quick, fluid brushstrokes demonstrate the rapid technique used for a preliminary study. Many changes were made in the final version: the image of God the Father was omitted, and the positions of the Virgin and the angel Gabriel reversed. The fresh, spring-like colors are characteristic of Goya’s early style; his later works are much more somber.

    Provenance

    Eduardo Lucas Moreno, Madrid. 1908 until at least 1951, Marques de Casa Torres, Madrid. By 1960 until at least 1964, Wildenstein and Co., London. 1970, private collection, London. Private collection, Barcelona (?). June 29, 1979, anonymous sale, Christie's, London, lot 73, unsold (?). December 11, 1981, anonymous sale, Christie's, London, lot 67. By 1984, anonymous collector, Boston; 1988, sold by the anonymous collector to the MFA. (Accession Date: March 23, 1988)

    Credit Line

    William Francis Warden Fund

    Details

    Catalogue Raisonné

    G&W 235; Gu 166

    Dimensions

    40.3 x 23.2 cm (15 7/8 x 9 1/8 in.)

    Accession Number

    1988.218

    Medium or Technique

    Oil on canvas

    Not On View

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  • Saint Andrew

    1641
    Attributed to Jusepe de Ribera (Spanish (active in Italy), 1591–1652)

    Description

    Provenance

    Gustav von Gerhardt, Budapest; November 10, 1911, posthumous Gerhardt sale, Lepke, Berlin, lot 66 [see note 1]. Until about 1926, Count Andrássy, Budapest; about 1926, sold by Andrássy to Leo Budai-Goldberger (b. 1878 - d. 1945), Budapest [see note 2]. Possibly Ladislas Sós, Paris [see note 3]. About 1951, probably acquired in Paris by Pinakos, Inc. (Rudolf Heinemann, b. 1902 - d. 1975) and M. Knoedler and Co., Paris and New York (joint account) [see note 4]; March 28, 1951, full ownership acquired by Knoedler, New York (stock no. A4548); February 24, 1953, sold by Knoedler to Mrs. B[asil] Goulandris, Greenwich, CT; sold back to Knoedler (stock no. A6668); 1957, sold by Knoedler to Zannis L. Cambanis, London, who returned it to Knoedler; June 3, 1958, sold by Knoedler to Mr. and Mrs. Robert Beede; given by Mr. and Mrs. Beede to Russell B. Stearns (d. 1981) and Andrée B. Stearns, Dedham, MA; 1991, gift of Andrée B. Stearns to the MFA. (Accession Date: December 18, 1991) NOTES: [1] As Jusepe de Ribera, St. Peter. [2] The verso of a photograph of the painting (copy supplied by M. Knoedler and Co.) is inscribed in French and signed by Ladislas Sós, 1 rue Eugene, Paris: "The painting represented on the reverse was part of the collection of the late Leo Goldberger of Budapest, who purchased it around 1926 from Count Andrassy." [3] The inscription on the photograph (see above, n. 2) is not dated, and it is unclear what role, if any, Ladislas Sos had in selling this painting. He may be identical to the displaced person of the same name, whose card with the Barcelona Emigration Office notes that he departed Spain for France in July of 1945. [4] The reverse of the painting bears a French customs stamp as well as a shipping label from Lenars et Cie., Paris (annotated "KNO / No. 40"). When it was entered into the Knoedler stock book in 1951, the painting was initially titled, in French, "Vieux pecheur," and a payment to Lenars was noted. ADDITIONAL INFORMATION: Leo Goldberger, a Jewish industrialist in Hungary, was sent to the Mathausen concentration camp in 1944. He died of starvation shortly after the camp was liberated in 1945. The contents of his home, including his art collection, were looted. When and how this painting left Goldberger's possession and made its way to Paris is not known, nor is it certain who sold the work to Pinakos and Knoedler. The MFA has been in contact with a representative of the Goldberger heirs about the provenance of this painting. Research is ongoing.

    Credit Line

    Gift of Andree B. Stearns

    Details

    Dimensions

    69.9 x 55.9 cm (27 1/2 x 22 in.)

    Accession Number

    1991.776

    Medium or Technique

    Oil on canvas

    Not On View

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  • Man in Sixteenth-century Costume in a Garden

    Eduardo Zamacois y Zabala (Spanish, 1842–1871)

    Description

    Inscription

    Stamped, on reverse: VENTE / ZAMACOIS. in pencil: #-4-c 11687

    Signed

    none

    Provenance

    April 15-17, 1872, Zamacois sale, Hotel Drouot, Paris, lot 16 (?) [see note 1]. Henry P. Kidder (b. 1823 - d. 1886), Boston; 1929, gift of the estate of Henry P. Kidder to the MFA. (Accession Date: February 7, 1929) NOTES: [1] A wax seal on the reverse of the painting's stretcher indicates that it was included in the posthumous Zamacois sale. It may be lot 16, described as "Seigneur du temps de Charles VI."

    Credit Line

    Gift of the Estate of Henry P. Kidder

    Details

    Dimensions

    24.1 x 18.5 cm (9 1/2 x 7 5/16 in.)

    Accession Number

    RES.29.29

    Medium or Technique

    Oil on panel

    Not On View

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  • Still Life with Bread, Ham, Cheese, and Vegetables

    about 1772
    Luis Meléndez (Spanish, 1716–1780)

    Description

    The leading still-life painter of Spain during the eighteenth century, Meléndez was born in Naples and spent most of his student years in Rome. However, his still lifes have a sober yet sensuous realism characteristic of Spanish painting of the previous century. On a kitchen table are piled simple foodstuffs; every color and texture is precisely rendered, and the composition is woven together by curving lines and shapes. This painting and its companion, Still Life with Melon and Pears (MFA object no. 39.40), may be from a series of forty-five still lifes Meléndez painted for one of the royal palaces, intended to represent “every species of food produced in Spain.”

    Inscription

    Lower right, on edge of table: L. EG[...]O M.

    Provenance

    R.F. Ratcliff, England [see note 1]. Possibly Mrs. Olga Bode Matthiesen [see note 2]. By 1938, Matthiesen, Ltd., London; 1939, sold by Matthiesen to the MFA for $300. (Accession Date: February 9, 1939) NOTES: [1] Eleanor Tufts, "Luis Meléndez: Eighteenth-Century master of the Spanish Still Life with a Catalogue Raisonné (Columbia, MO: University of Missouri Press, 1985), 92, cat. no. 58. [2] According to information provided by the Matthiesen Gallery (December 1, 2005).

    Credit Line

    Margaret Curry Wyman Fund

    Details

    Dimensions

    61.9 x 85.1 cm (24 3/8 x 33 1/2 in.)

    Accession Number

    39.40

    Medium or Technique

    Oil on canvas

    On View

    European Painting Gallery (Gallery 249)

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  • Still Life with Melon and Pears

    about 1772
    Luis Meléndez (Spanish, 1716–1780)

    Description

    Meléndez favored arrangements of everyday objects painted with sober yet sensuous realism. He savored shapes, surfaces, and colors—from the webbed rind of the melon to the glint of a wine bottle cooling in a cork bucket—and despite the profusion of objects, his paintings convey a satisfying sense of balance and measure. This still life may be from a series of forty-five, said to represent “every species of food produced in Spain,” that Meléndez created for the king’s summer residence outside Madrid. Ironically, many were painted at a time when poor harvests had produced severe food shortages. The artist himself had no money to buy food, claiming that his brush was his only asset.

    Inscription

    Lower right, on edge of table: EG L M D. S. P.

    Provenance

    R.F. Ratcliff, England [see note 1]. Possibly Mrs. Olga Bode Matthiesen [see note 2]. By 1938, Matthiesen Ltd., London; 1939, sold by Matthiesen to the MFA for $300. (Accession Date: February 9, 1939) NOTES: [1] Eleanor Tufts, "Luis Meléndez: Eighteenth-Century master of the Spanish Still Life with a Catalogue Raisonné (Columbia, MO: University of Missouri Press, 1985), 92-93, cat. no. 59. [2] According to information provided by the Matthiesen Gallery (December 1, 2005).

    Credit Line

    Margaret Curry Wyman Fund

    Details

    Dimensions

    63.8 x 85.1 cm (25 1/8 x 33 1/2 in.)

    Accession Number

    39.41

    Medium or Technique

    Oil on canvas

    On View

    European Painting Gallery (Gallery 249)

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