Juan Federighi or Juan de Federigui (Archdeacon of Carmona and member of the Cathedral Chapter of Seville; mentioned in the inventory), 1673;
By descent to his nephew Luis de Federigui;
In the possession of the Marquise de la Parada, before 1805;
Bought by II Conde de Aguila (Miguel de Espinosa y Tello de Guzmán, b. 1715), Seville, in 1805 (his name is inscribed on the verso of the painting);
Baron Isidoro de Taylor (1789 – 1879), 17 January 1837;
Louis Philippe I (1773 – 1850), King of the French (1830 – 1848), Paris, 1838 (exhibited in his Spanish Gallery in the Louvre, Paris, from 1838 until 1848, when paintings from the collection of the King were brought to England after the revolution in February of that year);
His posthumous sale, London, Christie’s, 16 May 1853, where acquired for £1,500 by Colnaghi (possibly acting as agents for the Duc de Montpensier);
Duc de Montpensier, Palacio de San Telmo, Seville, 1866;
By whom lent to the Museum of Fine Arts, Boston, 1874 – 1880;
Inherited by Antonio de Orléans, Palacio de Sanlúcar de Barrameda, 1883 (in 1892, the painting (no. 170) appears as the most expensive in the valuation of the partitional notebook of Antonio Maria de Orléans, Duke of Montpensier, at 80,000 pesetas);
Described as still at the Palacio de Sanlúcar de Barrameda, in 1908;
Sale, Paris, Drouot, Duc d’Orléans Sale, 19 June 1937, lot 6, acquired for 11,600 francs by ‘Berger’ (the buyer can almost certainly be identified as Kleinberger Galleries: a family firm of art dealers founded in France by Franz Kleinberger);
H. Kropik, Bad Aibling, Germany, c. 1979 (bought from the widow of Zacharie Birtschansky);
Margot Ernst, Saarbrücken, Germany, 1979;
Sale, London, Sotheby’s, 5 July 1989, lot 99, for £1.7 million;
Umeda Art Boeki, Osaka, Japan, 1989 (bought for a private collection in Japan);
With Richard Knight Fine Art Ltd., TEFAF Maastricht, Netherlands, 2004;
Private collection, Switzerland, 2017/18.
Exhibitions
Paris, Musée du Louvre, La Galerie Espagnole de Louis Philippe, 1838 – 1848;
Boston, Museum of Fine Arts, Collection of the Duc de Montpensier, 1874 – 1880;
Madrid, Museo del Prado, Bartolomé Esteban Murillo: 1617 – 1682, 8 October – 12 December 1982;
London, Royal Academy of Arts, Bartolomé Esteban Murillo: 1617 – 1682, 15 January – 27 March 1983;
Seville, Espacio Santa Clara, Murillo y su estela en Sevilla, 6 December 2017 – 8 April 2018.
Literature
N. de la Cruz Bahamonde, Conde de Maule, Viage de España, Francia e Italia, vol. XXIV, Cap. III, Madrid, Sancha/Cadiz, Manuel Bosch, 1806-1813, pp. 251-252;
E. Davies, The life of Bartolomé E. Murillo, London, Bensley and Son, 1819, p. 96;
F. Hall Standish, Seville and its Vicinity, (Chapter XIII, ‘General Remarks on Seville’), London, Black and Armstrong, 1840, p. 315;
F. Gonzalez de Léon, Noticia artistica, historica y curiosa de todos los edificios publicos, sagrados y profanos de esta muy noble, muy leal, muy heroica e invicta Ciudad de Sevilla, y de muchas casas particulares con todo lo que les sirve de adorno artistico, antiguedades, inscripciones y curiosidades que contienen, vol. I, Seville, José Hidalgo, 1844, pp. 131- 132;
R. Ford, ‘The Sale of Louis Philippe’s Spanish pictures’, The Athenaeum, 14 May 1853, Part I, no. 1333, pp. 593-594;
C. Blanc, ‘B. Esteban Murillo’, in Histoire des peintures de toutes les écoles – École espagnole, Paris, Jules Renouard, 1869, pp. 5-6;
W. Stirling Maxwell, Catalogue of prints engraved from the works of Diego Rodriguez de Silva Velazquez and Bartolomé Esteban Murillo, London 1873, privately printed, pp. 65-66;
Museum of Fine Arts, Catalogue of Pictures belonging to H.R.H. the Duke de Montpensier and of other pictures, Boston, Alfred Mudge, 1874, p. 3, cat. no. 6;
C. Boyd Curtis, Velazquez and Murillo: a descriptive and historical catalogue of the works of Don Diego De Silva Velazquez and Bartolomé, London 1883, p. 156, cat. no. 101;
W. Stirling Maxwell, Annals of the Artists of Spain, London 1891, vol. III, p. 984;
C. Justi, Murillo, Leipzig, Seemann, 1892, p. 46;
H. Knackfuss, Murillo, Bielefeld/Leipzig, Verlag von Velhagen und Klasing, 1896, pp. 73-74, fig. 59;
A. F. Calvert, Murillo. A Biography and Appreciation. With 165 illustrations reproduced from the most famous of Murillo’s pictures, London, John Lane, The Bodley Head/New York, Johne Lane, 1907, pp. 136-137, no. 109;
A. Liebmann Mayer, Murillo, Klassiker der Kunst, 1923, p. 66;
A. Liebmann Mayer, Murillo, des Meisters Gemälde, Berlin/Leipzig, Deutsche Verlags-Anstalt, 1923, p. 66 with full-page reproduction, p. 290, p. 302;
P. Guinard, Dauzats et Blanchard. Peintres de l’Espagne romantique, Paris, Presse Universitaires, 1967, p. 224;
J. Antonio Gaya Nuño, L’opera completa di Murillo, Milan, Rizzoli, 1978, cat. no. 183;
D. Angulo Iniguez, Letter to Margot Ernst, 13 March 1980 (available upon request);
D. Angulo Iñiguez, Murillo, vol. I: ‘Su Vida, Su Arte, Su Obra’, Madrid, Espasa-Calpe, 1981, pp. 429-430;
D. Angulo Iñiguez, Murillo, vol. II: ‘Catalogo Critico’, Madrid, Espasa-Calpe, 1981, pp. 161-162, cat. no. 167;
J. Baticle & C. Marinas, La Galerie espagnole de Louis-Philippe au Louvre 1838-1848, Paris, Ministère de la Culture, RMN, 1981, pp. 116-117, no. 160;
M. Mena Marqués & E. Valdivieso, in Bartolomé Esteban Murillo: 1617-1682, exh. cat., Museo del Prado, Madrid 1982; Royal Academy of Arts, London 1983; (ed.) of the English catalogue: J. Martineau, London, Weidenfeld & Nicholson, 1982, p. 900, reproduced on p. 169;
M. Mena Marqués & E. Valdivieso, in Bartolomé Esteban Murillo, Katalog der Ausstellung des Museo del Prado Madrid und der Royal Academy of Arts London (1982 Madrid, 1983 London), Berlin, Fröhlich & Kaufmann, 1982, p. 158, cat. no. 26;
E. Valdivieso, Murillo. Catálogo razonado de pinturas, Madrid, El Viso, 2010, p. 354, cat. no. 128;
H. Pérez Gallardo, ‘Murillo en la fotografía del siglo XIX: Razones para una estética del sentimiento’, in Murillo y su estela en Sevilla, exh. cat., (ed.) B. Navarrete Prieto, Seville, ICAS (Instituto de la Cultura y las Artes de Sevilla), 2017, pp. 111-112;
B. Navarrete Prieto, ‘Los afectos y el espacio privado’, in Murillo y su estela en Sevilla, exh. cat., (ed.) B. Navarrete Prieto, Seville, ICAS (Instituto de la Cultura y las Artes de Sevilla), 2017, p. 217;
B. Navarrete Prieto, ‘Virgen de la faja [33]’, in Murillo y su estela en Sevilla, exh. cat., (ed.) B. Navarrete Prieto, Seville, ICAS (Instituto de la Cultura y las Artes de Sevilla), 2017, pp. 218-220;
P. García Ponce de Léon, Bartolomé Esteban Murillo. El Pintor de la Devoción, Madrid/Alcobendas, Libsa, 2018, p. 169;
L. Duffy-Zeballos, ‘Las escenas de devoción de Murillo’, in Murillo IV centenario, exh. cat., (eds.) I. Cano Rivero & M. del Valme Muñoz Rubio, Seville, Junta de Andalucía, Consejería de Cultura, 2018, pp. 46-47.