Object details
Accession number
1.1.r.11
Primary Creator
Paolo Veronese
(Verona, 1528 - 1588, Venice)
Full title
Saint Roch in Glory
Creation Date
1564
Provenance
Collection of the financier and art collector, Pierre Crozat (1661-1740), Paris.
Purchased by the publisher and printmaker, Robert Hecquet (1693-1775), for the art collector Pierre-Jean Mariette (1694-1774), Paris at the Crozat sale, P. J. Mariette, Paris, 10 April 1741, lot 684.
Purchased by the French printmaker and collector, Charles-Philippe Campion, Abbé de Tersan (1736-1819) at the Mariette sale, F. Basan, Paris, 15 November 1775, lot 249.
Acquired by Henry Temple, 2nd Viscount Palmerston (1739-1802), London at an unknown date and passed by descent in the family.
Acquired by Sir John Charles Robinson (1824–1913), museum curator, collector, and connoisseur, London at the Palmerston sale, Christie's, London, 24 April 1891, lot 184.
Purchased by Isabella Stewart Gardner at auction from the sale of Sir John Charles Robinson's collection at Christie, Manson and Woods, London on 12 May 1902 for £11 through the dealer Agnew & Son's, lot 50.
Marks
Stamped (drawing, lower right): PM [collectors mark of Pierre-Jean Mariette (Lugt 2097)]
Stamped (mount, lower right): ISG [collectors mark of Isabella Stewart Gardner]
Inscribed in pen and brown ink (mount, lower left): J.C.R. [Sir John Charles Robinson]
Inscribed in brown pen and ink (mount, lower center): Paulus Calliari Veronen. Certens de Picturis Sodalitii. S. Rochi. Fuit D. Crozat, nunc P. J. Mariette
Inscribed in pencil (mount, lower center): 83, 1, and 1741.
Inscribed in pen and brown ink in Robinson's hand (mount, verso): Paolo Veronese Collns D Crozat & P. J. Mariette Lord Palmerston colln formed 1770-1801 sold at Christie's Apl 24 1891. J. C. Robinson.
Inscribed in pencil, partially legible (mount, verso, lower left): Sale June 1801 ... 102.1.12 0
In pencil (mount, verso, right): very fine and nice [?] P1... No. 1
In brown ink (mount, verso, right): 249
In pencil (mount, verso, upper right): Marriet [sic]
(upper center): 50.
Dimensions
26.7 x 27.8 cm (10 1/2 x 10 15/16 in.)
Display Media
Pen and brown ink and wash, with white gouache, over traces of graphite ( ? ) on blue laid paper, mounted to cream wove paper
Dimension Notes
Blue Mariette mount: approx. 37.47 x 43.18 cm (14 3/4 x 17 in.)
Frame: 19.75 x 26.75 cm (7 3/4 x 10 9/16 in.)
Web Commentary
Isabella Stewart Gardner kept meticulous records of many of her acquisitions. In keeping with this legacy, object information is continually being reviewed, updated, and enriched in order to give greater access to the collection.
Permanent Gallery Location
Short Gallery
Bibliography
P. J. Mariette. Descriptions sommaire des Desseins des Grands Maistres d'Italie, des Pays Bas et de France, du Cabinet de Feu M. Crozat (Paris, 1741), p. 74 lot 684. (as Veronese's drawing for the ceiling competition of the School of St. Roch, Venice)
F. Basan. Catalogue raisonné des defferens [sic] objets de curiosités...Cabinet de feu Mr Mariette etc. (Paris, 1775), p. 43, lot 249. (as Veronese, St. Roch lifted to the sky by angels)
Christie, Manson and Woods. Catalogue of a Collection of Engravings and Drawings Formed by the Second Viscount Palmerston (1770-1801),... (London, 24 April 1891), lot 184. (as Veronese, The Ecstacy of St. Paul)
Christie, Manson and Woods. Catalogue of a Valuable Collection of Drawings by Old Masters Formed by a Well-Known Amateur (London, 12-14 May 1902), p. 8, lot 50. (as Veronese, St. Roch Borne to Heaven)
Le Cabinet d'un grand Amateur, P. J. Mariette 1694-1774 (Paris, 1967), p.103, under no. 145. (as Veronese's modello for the competition)
Rollin van N. Hadley (ed.). Drawings: Isabella Stewart Gardner Museum (Boston: 1968), pp. 26-28, no. 12. (as attributed to Veronese)
H. Macandrew. Catalogue of the Collection of Drawings, Ashmolean Museum, Oxford, Vol III, Italian Schools; Supplement (Oxford, 1980), p. 75, under no. 744A. (as attributed to Veronese)
Richard Cocke. Veronese's Drawings: A Catalogue Raisonné (London, 1984), p. 338, no. 161. (rejects attribution to Veronese)
William R. Rearick in Allessandro Bettagno (ed.). Paolo Veronese. Disegni e dipinti. Exh. cat. (Venice: Fondazione Giorgio Cini, 1988), p. 74. (as Veronese's modello for the competition)
William R. Rearick (ed.). The Art of Paolo Veronese 1528-1588. Exh. cat. (Washington: National Gallery of Art, 1988), pp. 74-75, fig. 28. (as Veronese's modello for the competition)
Hilliard Goldfarb. Art’s Lament: Creativity in the Face of Death. Exh. cat. (Boston: Isabella Stewart Gardner Museum, 1994), cat. 5. (as studio of Veronese)
Hiliard Goldfarb et al. Italian Paintings and Drawings Before 1800 in the Isabella Stewart Gardner Museum. Unpublished manuscript. (Boston, 1996-2000). (as studio of Veronese)
William R. Rearick. Il disegno veneziano del Cinquecento (Milan, 2001), pp. 164, 226 n. 243. (as Veronese's modello for the competition and also used for the Allegory of Faith with the Doctors of the Church on the ceiling of the new sacistry of San Giacomo dell'Orio, Venice)
Frederick Ilchman (ed.). Titian, Tintoretto, Veronese: Rivals in Renaissance Venice. Exh. cat. (Boston: Museum of Fine Arts, 2009), p. 27. (as Veronese, a "presentation sheet" for the competition)
Virginia Brilliant. "Altarpieces and Heavenly Visions" in Virginia Brilliant et al. (eds.). Paolo Veronese: A Master and His Workshop in Renaissance Venice. Exh. cat. (Sarasota, FL: John and Mable Ringling Museum of Art, 2012), pp. 163-65 cat. 31, 266-67. (as Veronese's modello for the competition)
Virginia Brilliant. "Veronese in America: Collecting and Taste" in Virginia Brilliant et al. (eds.). Paolo Veronese: A Master and His Workshop in Renaissance Venice. Exh. cat. (Sarasota, FL: John and Mable Ringling Museum of Art, 2012), p. 90.
Diana Gisolfi. "Veronese's Training, Methods, and Shop Practice" in Virginia Brilliant et al. (eds.). Paolo Veronese: A Master and His Workshop in Renaissance Venice. Exh. cat. (Sarasota, FL: John and Mable Ringling Museum of Art, 2012), p. 40. (as Veronese's modello for the competition)
John Marciari. "The Drawings of Veronese" in Virginia Brilliant et al. (eds.). Paolo Veronese: A Master and His Workshop in Renaissance Venice. Exh. cat. (Sarasota, FL: John and Mable Ringling Museum of Art, 2012), pp.199-200, 202 (as Veronese's modello for the competition and later used as a model for the sacristry of San Giacomo dell'Orio, Venice)
Blake de Maria. "Veronese and His Patrons" in Virginia Brilliant et al. (eds.). Paolo Veronese: A Master and His Workshop in Renaissance Venice. Exh. cat. (Sarasota, FL: John and Mable Ringling Museum of Art, 2012), p. 49. (as Veronese's modello for the competition)
Inge Reist. "The Classical Tradition: Mythology and Allegory" in Virginia Brilliant et al. (eds.). Paolo Veronese: A Master and His Workshop in Renaissance Venice. Exh. cat. (Sarasota, FL: John and Mable Ringling Museum of Art, 2012), p. 108.
Diana Gisolfi. Paola Veronese and the Practice of Painting in the Late Renaissance Venice (New Haven, 2017), pp. 148-49, fig. 226.
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