Adoration of the Shepherds
Framed: 40 × 48 × 3 inches (101.6 × 121.92 × 7.62 cm)
- 111
Wichita Art Museum, December 12-31, 1948, no cat.
Junior Art Museum, Des Moines, IA, December 3, 1958-January 21, 1959, no. cat.
Spiva Art Center, Joplin, MO, November 1968, no. cat.
Eugène de Beauharnais, 1st Duke of Leuchtenberg (1781-1824), Munich, by 1824;
By descent to his son, Auguste de Beauharnais, 2nd Duke of Leuchtenberg (1810-1835), Munich, as by Giorgione, 1824-1835;
Inherited by his brother, Maximilian de Beauharnais, 3rd Duke of Leuchtenberg (1817-1852), Munich and St. Petersburg, as by Giorgione, 1835-1852;
By descent to his son, Nikolai, 4th Duke of Leuchtenberg (1843-1891), St. Petersburg, as by Giorgione or Bernardino Licinio, 1852-1891;
By descent to his son, Nikolai de Beauharnais (1868-1928), St. Petersburg, 1891;
Asher Wertheimer (1844-1918), London, by 1903-June 18, 1920;
Purchased at his sale, The Remaining Stock of Pictures by Old Masters and Works of the early English School of Mr. Asher Wertheimer, Christie, Manson and Woods, London, June 18, 1920, lot 18, as by Giorgione, by S. F. Smith, 1920;
With Robert Langton Douglas (1864-1951), London, as by Dosso Dossi, by 1934 [1];
With Walter P. Fearon (d. 1935), New York, by 1934;
Purchased from Fearon by The Nelson-Atkins Museum of Art, Kansas City, MO, 1934.
NOTES:
[1] According to an annotation on the back of a photograph (Francesco Vecellio 709-5a), which was given to the Frick Art Reference Library, New York, by Douglas’s wife in 1951, this painting “passed through the hands of Robert Langton Douglas, London dealer (as Dosso Dossi).” The painting does not, however, appear in Douglas’s stockbooks, Metropolitan Museum of Art, European Paintings Department.
Catalogue des Tableaux de la Galerie de feu son Altesse Royale, Monseigneur le Prince Eugène, Duc de Leuchtenberg à Munich (Munich, 1825), 27, as by Giorgione.
George Kaspar Nagler, ed., Neues Allgemeines Künstler-Lexikon, vol. 1 (Munich: E. A. Fleischmann, 1835), 258, as by Giorgione.
Johann N. Muxel, ed., Gemälde Sammlung seiner königlichen Hoheit, Dom Augusto, Herzogs von Leuchtenberg (Munich: Finsterlin, [1841]), 81, (repro.), as by Giorgione.
Johann N. Muxel, Verzeichniss der Bildergalerie des Prinzen Eugen Herzog von Leuchtenberg (Munich, 1843), 26, as by Giorgione.
Johann David Passavant, ed., Gemälde-Sammlung seiner kaiserl. Hoheit des Herzogs von Leuchtenberg in München, 2nd ed. (Frankfurt am Main: Joseph Baer, 1851), 2, (repro.), as by Giorgione.
Gustav F. Waagen, Die Gemäldesammlung in der Kaiserlichen Ermitage zu St. Petersburg, nebst Bemerkungen über andere dortige Kunstsammlungen (Munich: Friedrich Bruckmann, 1864), 375, as by Licinio da Pordenone.
Gustav F. Waagen, Die Gemäldesammlung in der Kaiserlichen Ermitage zu St. Petersburg, nebst Bemerkungen über andere dortige Kunstsammlungen, 2nd ed. (St. Petersburg: Kaiserlichen Hofbuchhandlung H. Schmitzdorff, 1870), 375, as by Licinio da Pordenone.
Adolf F. Seubert, ed., Allgemeines Künstler-Lexicon: Oder Leben und Werke der Berühmtesten Bildenden Künstler, 2nd ed., vol. 2 (Frankfurt am Main: Rütten and Loening, 1882), 72, as possibly by Giorgione.
Herbert Cook, “Two Alleged ‘Giorgiones’,” The Burlington Magazine 2, no. 4 (June-August 1903): 78, 83-84, as by an anonymous Venetian.
Herbert Cook, “Letters to the Editors: The ‘Savoldo’ in the National Gallery,” The Burlington Mazagine 7, no. 29 (August 1905), 398, as Zuane da Brescia and son.
Gustav Ludwig, “Archivalische Beiträge zu Geschichte der Venezianischen Malerei,” Jahrbuch der Königlich Preussischen Kunstsammlungen 26 (1905), S114-15, as by Bernardino da Asola.
Joseph Archer Crowe and G.B. Cavalcaselle, A History of Painting in North Italy, Venice, Padua, Vicenza, Verona, Ferrara, Milan, Friuli, Brescia, from the Fourteenth to the Sixteenth Century, ed. Tancred Borenius, vol. 3 (London: John Murray, 1912), 317, 317n3, as possibly by Savoldo.
Catalogue of the Remaining Stock Pictures by Old Masters and Works of the Early English School of Mr. Asher Wertheimer… Also Pictures and Drawings from Various Sources (London: Christie, Manson, Woods, June 18, 1920), 6, as by Giorgione.
Giuseppe Fiocco, “Piccoli maestri—v: Giovanni e Bernardino da Asola,” Bollettino d’Arte del Ministero della Pubblica Istruzione, ser 2, anno 4, no. 5 (November 1925): 198, (repro.), as by School of Treviso.
Adolfo Venturi, Storia dell’arte italiana, vol. 9, La pittura del cinquecento, part 3 (Milan: Ulrico Hoepli, 1928), 790n1, as by Savoldo.
Willhelm E. Suida, Le Titien (Rome: Valori Plastici, 1933), 155.
Bernard Berenson, Pitture Italiane del Rinascimento: Catalogo dei Principali Artisti e delle Loro Opere con un Indice dei Luoghi (Milan: Ulrico Hoepli, 1936) 206, as by Giovanni di Asola.
Giuseppe Fiocco, “Profilo di Francesco Vecellio,” Arte Veneta 9 (1955): 76, (repro.), as by Francesco Vecellio.
Bernard Berenson, Italian Pictures of the Renaissance: Venetian School, vol. 1 (London: Phaidon, 1957), 87, as by Giovanni di Asola.
Cecil Gould, National Gallery Catalogues: The Sixteenth-Century Venetian School (London: National Gallery, 1959), 133, 134n3, 134n6, as by “anonymous provincial Venetian.”
Cecil Gould, National Gallery Catalogues: The Sixteenth-Century Italian Schools (excluding the Venetian) (London: National Gallery, 1962), 19, as by School of Brescia.
Antonio Boschetto, Giovan Gerolamo Savoldo (Milan: Bramante, 1963), 225.
Rossana Bossaglia “La pittura bresciana del cinquecento: I maggiori e i loro scolari,” in Storia di Brescia, vol. 2 (Brescia: Morcelliana Editrice, 1963), 1100n1.
Maria Grazia Antonelli Trenti, “Notizie e precisazioni sul Dosso giovane,” Arte Antica e Moderna, no. 28 (1964), 407, 415n21, (repro.), as by Giovanni di Asola.
Cecil Gould, “An Addition to Bernardino da Asola,” Arte Venete 27 (1973), 256, 257, 257n2, (repro.), as probably by Bernardino da Asola.
National Gallery: Illustrated General Catalogue (London: National Gallery, 1973), 78, as attributable to Bernardino da Asola.
Cecil Gould, National Gallery Catalogues: The Sixteenth-Century Italian Schools, 2nd ed. (London: National Gallery, 1975), 27-28, 28n2, 28n5, as attributed to Bernardino da Asola.
Letter from Fritz Heinemann to Ellen Goheen, January 4, 1975, NAMA curatorial files, as Altobello Melone.
Dizionario enciclopedico dei pittori e degli incisori italiani, vol. 11 (Torino: Giulio Bolaffi, 1976), 268, as by Francesco Vecellio.
Mauro Lucco, “Il cinquecento (parte prima),” in Le Pitture del Santo di Padova, ed. Camillo Semenzato (Vicenza: N. Pozza, 1984): 153, as a late work by Bernardino da Asola.
Marcella Brunacci Conz, “Giovanni e Bernardino da Asola,” Giovanni Gerolamo Savoldo, pittore bresciano: Atti del convegno (Brescia 1983), ed. Gaetano Panazza (Brescia: Moretto, 1985): 174, 174n16, as by Francesco Vecellio.
Creighton E. Gilbert, The Works of Girolamo Savoldo: The 1944 Dissertation, with a Review of Research, 1955-1985 (New York: Garland, 1986), 469-470, as by an anonymous master.
Mina Gregori, ed., Pittura del cinquecento a Brescia (Milan: Cassa di Risparmio delle Provincie Lombardie, 1986), 13.
National Gallery: Illustrated General Catalogue, 2nd ed. (London: National Gallery, 1986), 43, as attributable to Bernardino da Asola.
Mauro Lucco, “Giovanni da Asola,” in La pittura in Italia: Il Cinquecento, ed. Giuliano Briganti, vol. 2 (Milan: Electa, 1988): 730, as by Giovanni da Asola.
Bruno Passamani, “L’affermazione di Callisto [Piazza],” in I Piazza da Lodi: Una tradizione di pittori nel cinquecento, ed. Gianni Sciolla (Milan: Electa, 1989): 165.
Sybille Ebert-Schifferer, ed., Giovanni Gerolamo Savoldo und die Renaissance zwischen Lombardei und Venetien: Von Foppa und Giorgione bis Caravaggio, exh. cat. (Milan: Electa, 1990), 292.
Kristie C. Wolferman, The Nelson-Atkins Museum of Art: Culture Comes to Kansas City (Columbia: University of Missouri Press, 1993), 170-171, as by Savoldo.
Eliot W. Rowlands, The Collection of the Nelson-Atkins Museum of Art: Italian Paintings 1300-1800, (Kansas City, MO: The Nelson-Atkins Museum of Art, 1996), 160-164, (repro.), as by Bernardino da Asola.
