Saint Francis of Assisi Receiving the Stigmata
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Exhibition History
No known exhibition history at this time.
Sir Coutts Lindsay, 2nd Baronet (1824-1913), Balcarres, Colinsburgh, Fife, Scotland, by 1882 [1];
Lady Caroline Blanche Elizabeth Lindsay (1844-1912), London, after 1882 [2];
Karl Hartmann (1861-1927), Munich, by May 30, 1905;
Purchased at his sale, Sammlung Kunstmaler Karl Hartmann, München, Galerie Helbing, Munich, May 30, 1905, lot 182, as by Giotto di Bondone, by Prof. Dr. R. Greeff, Berlin [3];
Mr. Morgan, Hove, Sussex, England, by July 21, 1928;
Purchased from Morgan by Robert Langton Douglas (1864-1951), London, stock book 1925-1939, no. 34, as by Lorenzo Monaco, July 21, 1928-1935;
Purchased from Douglas by The Nelson-Atkins Museum of Art, Kansas City, MO, 1935.
NOTES:
[1] According to the Robert Langton Douglas records, stock book 1925-1939, p. 127, Metropolitan Museum of Art, New York, European Paintings Department, this painting was previously in the collections of Sir Coutts Lindsay, Lady Caroline Blanche Elizabeth Lindsay and Mr. Morgan.
[2] Sir Coutts Lindsay and Lady Caroline Blanche Elizabeth Lindsay separated in 1882. Other paintings in their private collection which had been exhibited by Sir Coutts prior to the separation were later exhibited by Lady Lindsay. According to Virginia Surtees, Coutts Lindsay, 1824-1913 (Norwich: Michael Russell, 1993): 170, anything Lady Lindsay had bought herself was returned to her following the separation.
[3] According to Dr. Meike Hopp, Zentralinstitut für Kunstgeschichte, Munich, in an email to MacKenzie Mallon, Specialist, Provenance, October 26, 2015, NAMA curatorial files, Greeff is listed as the painting’s buyer in an annotated sale catalogue in the Zentralinstitut. This is probably Prof. Dr. Richard Greeff (1862-1938), a Berlin ophthalmologist who also published on the depictions of eyeglasses in art.
Sammlung Kunstmaler Karl Hartmann, München: Antiquitäten vorwiegend der Gotik und Renaissance, Deutsche und Italienische Oelgemälde der Frühepoche. Antike Terracotten, Tanagrafiguren, Vasen, Schmuckgegenstände (Munich: Hugo Helbing, May 30-31, 1905), 15, (repro.), as by Giotto di Bondone.
“Manet, Clouet, Lorenzo Monaco: Paintings Newly Acquired by the Nelson Gallery in Kansas City,” Art News 34 (February 15, 1933): 5, as attributed to Lorenzo Monaco.
The American Magazine of Art 29, no. 7 (1936): 250-251, (repro.), as attributed to Don Lorenzo Monaco or his circle.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 169, as by Circle of Lorenzo Monaco.
Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, vol. 1 (London: Phaidon, 1963), 119, as by studio of Lorenzo Monaco.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge: Harvard University Press, 1972), 138, 399, 589, as by the Master of Saint Verdiana.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 260, as by School of Lorenzo Monaco.
Miklós Boskovitz, Pittura fiorentina alla vigilia del rinascimento, 1370-1400 (Florence: Edam, 1975), 126, 238, (repro.), as by Master of San Jacopo a Mucciana.
Letter from Everett Fahy (November 19, 1978), NAMA curatorial files, as by Master of San Jacopo a Mucciana.
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), 65-67, (repro.), as by Master of San Jacopo a Mucciana.
