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Saint Barbara

Attributed to Germain Pilon (French, 1537 - 1590)
Dateca. 1580-1585
MediumWhite marble
DimensionsOverall: 71 × 24 × 19 1/2 inches (180.34 × 60.96 × 49.53 cm)
Credit LinePurchase: William Rockhill Nelson Trust
Object number49-27
On View
On view
Gallery Location
  • 111
Collections
Exhibition History

[None known at this time]

Gallery Label
Saint Barbara was a virgin martyr whose father sequestered her in a tower to discourage suitors.  Here she is shown next to the tower, holding the hilt of a sword, the instrument of her martyrdom. The missing blade was probably made of silver. Pilon, the sculptor, is linked to the so-called School of Fontainebleau, named after the palace of Fontainebleau, a royal residence decorated by Italian artists who brought to France the elegance and refinement of Italian Mannerism. Something of this is apparent in the graceful turn of Saint Barbara's pose. The back is flat, indicating she was meant to be seen only from the front and placed against a wall or pillar or in a niche.
Provenance

Eugène Kraemer, Paris, by 1913;

Purchased at his posthumous sale, Tableaux anciens, Écoles primitives et de la Renaissance…par suite du décès de M. Eugène Kraemer, Galerie Georges Petit, Paris, June 4, 1913, lot 259, by A. Levy for Raoul Gunsbourg (1860-1955), Monte Carlo and Château de Cormatin, Cormatin, France [1];

With Annette Lefortier, Paris, by April 9, 1919;

Purchased from Lefortier by Jacques Seligmann and Co., Paris and New York, stock nos. P7561 and NY5561, April 9, 1919-1949 [2];

Purchased from Jacques Seligmann and Co., through Harold Woodbury Parsons, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1949.

NOTES:

[1] Gunsbourg, director of the Opéra de Monte Carlo, is identified as the buyer in a handwritten annotation in the margin of copy 3 of the sale catalogue housed at the Getty Research Institute. Alternatively, Levy is listed as the buyer in “Eugene Kraemer Sale,” American Art News 11, no. 34 (June 21, 1913), 7. This is presumably Armand Levy, a Parisian art dealer who was also active on the city’s musical scene. Levy was most likely purchasing on Gunsbourg’s behalf.

[2] Dealer Annette Lefortier was Armand Levy’s wife. Levy and Lefortier were most likely acting as Parisian agents for Gunsbourg. Archives of American Art, Washington, DC, Jacques Seligmann and Co. Records, box 299, folder 7, Consular Invoices 1933. Copy in NAMA curatorial files. This sculpture was lent to NAMA by Jacques Seligmann and Co. for NAMA’s opening exhibition, December 1933-August 1934.


Published References

Catalogue Des Tableaux Anciens; Écoles Primitives et De La Renaissance des XVe et XVIe Siècles; Écoles Anglaise, Espagnole, Flamande, Française, Hollandaise, Italienne Des XVIIe et XVIIIe Siècles; Pastels et Dessins De L’École Française des XVIe, XVIIe et XVIIIe siècles; Objets D’Art et D’Ameublement; Dont La Vente Par suite du décès de M. Eugène Kraemer; Aura Lieu A [sic] Paris; Galerie Georges Petit (Paris: Galerie Georges Petit, June 2-5, 1913), 105, as Statue en marbre blanc, plus grande que nature, représentant sainte Barbe, debout, portant un ample vêtement bordé d’hermine avec bracelet, ceinture et chaîne de manteaux; la tête est incliné vers l’épaule gauche et coiffée d’un diadème; du bras droit, elle s’appuie sur la tour. École de Germain Pilon. XVIe siècle.

Jean Babelon, Germain Pilon: biographie et catalogue critiques, l'oeuvre complète de l'artiste reproduite en quatre-vingt-deux héliogravures (Paris: Les Beaux-arts, édition d’études et de documents, 1927), p. 74, as Sainte Barbe.

Winifred Shields, “Statue of St. Barbara Shows Face of Catherine de Medici: Jewels and Furs Deck Popular Nelson Gallery of Art Statue That Sculptor, Pilon, Made to Resemble Catherine, Queen of France,” The Kansas City Star (August 10, 1951): (repro.), as Statue of St. Barbara.

Louis Réau, “Shorter Notes: A Marble Statue of St. Barbara By Germain Pilon,” trans. Mrs. T.D. Parker, The Art Quarterly XV (1952): 331-33, 335-37, (repro.), as St. Barbara.

Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 102-03, (repro.), as St. Barbara.

Germain Seligman, Merchants of Art: 1880-1960, Eighty Years of Professional Collecting (New York: Appleton-Century-Crofts, 1961), 254, (repro.), as Saint Barbara.

Denys Sutton, “The Colonel’s Gift,” Apollo 96, no. 130 (December 1972): 3, as St. Barbara [repr. in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 3].

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), 104, (repro.), as St. Barbara.

Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 45, (repro.), as Saint Barbara.

 

 

 

 

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