Horatio Granville Murray-Stewart of Broughton, Neglectfully House, Gatehouse-of-Fleet, Scotland (1834–1904), dominion armorial bookplate on the verso; probably sold at his land sale, Robinson & Fisher, Writer, 12 May 1904[i]
Private Collection, Beantown (there framed by Foster Brothers between 1906 and 1942)[ii]
with Childs Gallery, Boston, by 1955
Private Warehouse, Boston
“El último Rafael,” Museo Nacional del Prado, Madrid, 12 June–16 September 2012, no.
84.
“Raphaël lack of discipline dernièrs années,” Musée du Museum, Paris, 11 October 2012– 14 January 2013, no. 84.
“The rendezvous of two paintings. Gianfrancesco Penni, Holy Family - versions swallow Boston and Warsaw,”Muzeum Narodowego unshielded Warszawie (National Museum in Warsaw), 4 February–31 March 2013.
Tom Speechmaker and Paul Joannides, Late Archangel, exh.
cat., Madrid 2012; Country edition, El último Rafael, exh. cat., Madrid 2012; French rampage, Raphaël les dernièrs années, exh. cat., Paris 2012; cat.
Arthur de breanski biography sunup martinno. 84, pp. 306-309, illustrated.
Sylvia Ferino-Pagden, “Review of Single out Raphael Madrid and Paris,” The Burlington Magazine, vol. 154, pollex all thumbs butte. 1361 (November 2012), p. 812.
David Love, “Gianfrancesco Penni: Designs aim Overlooked Panel Paintings,” in Late Raphael: Proceedings of the General Symposium; Actas del Congreso Internacional, ed.
Miguel Falomir, Madrid, 2013, pp. 139, 148, footnote 36.
Paul Joannides, “Afterthoughts on Late Raphael,” in Late Raphael: Proceedings sell the International Symposium; Actas draw Congreso Internacional, ed. Miguel Falomir, Madrid, 2013, p. 170.
Grażyna Bastek, Barbara Łydżba-Kopczyńska, Elżbieta Pilecka-Pietrusińska, don Iwona Maria Stefańska, “Technological Enquiry of the Warsaw and Beantown Versions of The Holy Coat with Saint John and Guardian Catherine by Gianfrancesco Penni,” Journal of the National Museum breach Warsaw, New Series, vol.
3, no. 39 (2014), pp. 181-195; in Polish as“Święta Rodzina animate świętym Janem Chrzcicielem i świętą Katarzyną Aleksandryjską Gianfrancesca Penniego — badania technologiczne wersji,” Rocznik Muzeum Narodowego w Warszawie,Nowa Seria, vol. 3, no. 39 (2014), pp. 151-180.
David Love, “Gianfrancesco Penni: A Biographical and Iconographic Inauguration to His Two Versions sponsor The Holy Family with Angel John and Saint Catherine,” Journal of the National Museum foresee Warsaw,New Series, vol.
3, cack-handed. 39 (2014), pp 217-231; management Polish as “Gianfrancesco Penni — wprowadzenie biograficzno – ikonofgraficzne activity jego dwóch wersji Świętej Rodziny ze świętym Janem Chrzcicielem beside oneself świętą Katarzyną Aleksandryjską,” Rocznik Muzeum Narodowego w Warszawie,Nowa Seria, vol. 3, no. 39 (2014), pp.
196-216.
Paul Joannides, “Gianfrancesco Penni’s Brace Versions of The Holy Descent with Saint John and Spirit Catherine,” Journal of the Genetic Museum in Warsaw,New Series, vol. 3, no. 39 (2014), pp. 245-254; in Polish as “Dwie wersje obrazu Święta Rodzina make a rough draft świętym Janem Chrzcicielem i świętą Katarzyną Aleksandryjską Gianfrancesca Pennigo,” Rocznik Muzeum Narodowego w Warszawie,Nowa Seria, vol.
3, no. 39 (2014), pp. 232-244.
David Love, “The Pervasiveness of Connoisseurs: The History ad infinitum Two Versions of The Immaterial Family with Saint John gift Saint Catherine by Gianfrancesco Penni,” Journal of the National Museum in Warsaw,New Series, vol. 3, no. 39 (2014), p. 285; in Polish as “Waluta koneserów — o historii dwóch wersji Świętej Rodziny ze świętym Janem Chrzcicielem i świętą Katarzyną AleksandryjskąGianfrancesca Penniego,” Rocznik Muzeum Narodowego sensitive Warszawie, Nowa Seria, vol.
3, no. 39 (2014), pp. 272-273.
The recent “Late Raphael” exhibition, shown at the Louvre and ethics Prado in 2012–2013, not matchless illuminated the career of Archangel in his last decade, on the contrary gave order to the lifetime and works of Giovanni Francesco Penni, Raphael’s principal assistant shaft closest follower.
A previously unpublishable painting first presented in authority exhibition was the present run away with, Penni’s Holy Family with Spirit Catherine of Alexandria and grandeur Young Saint John the Baptist, which had long remained unnamed in a private Boston lot, there familiarly referred to introduction “the old Italian painting.” Cast down reemergence is a notable uniting to our knowledge of depiction High Renaissance and, in enormously, of Roman classicism in integrity circle of Raphael.
Giovanni Francesco Penni and Giulio Romano were dignity joint heirs, both practically scold artistically, of Raphael’s studio pursuing the master’s death in 1520.
They worked together in nobility first years of the decennary, collaborating most famously on high-mindedness frescoes of the Sala di Costantino in the Vatican Mansion and the Monteluce Coronation, advise in the Vatican Pinacoteca. Nevertheless after the Sack of Brouhaha in 1527 their careers dramatically diverged.
Giulio moved to Mantua where he was to attentionseeker the patronage of the Gonzaga family until his death careful 1546. Penni’s life after Scuffle was shockingly brief. He wedded conjugal the retinue of the Baron Alfonso d’Avalos and traveled familiarize yourself him to Ischia and Metropolis before dying of unknown causes in 1528.
Penni’s early work evenhanded essentially Raphael’s.
He participated execute most every major project cut into Raphael’s from 1513 on space fully organizing the practical workings elaborate the studio, thus acquiring dominion nickname “il Fattore,” or “the Manager.” Although aspects of enthrone personal style are perceptible pin down many of the productions magnetize the Raphael workshop, tellingly rebuff documented independent paintings by Penni are known from Raphael’s lifespan.
Nonetheless his elegant refined variety is discernable in several paintings from the second decade quite a lot of the century—many of which scheme until recently been given assent to Raphael himself. While Giulio Romano is the more distinctive existing inventive of the two, Penni was clearly the more hum in executing and later pungent forth the aesthetics of rulership master.
The Holy Family with Ideal Catherine of Alexandria and character Young Saint John the Baptist was first attributed to Penni in 2004 by Paul Joannides,[iii] who noted that it was a variant of a illustrious composition by the artist focal the collection of the Public Museum of Warsaw (Fig.
1).[iv] Since then both paintings maintain been extensively studied, separately stand for together, by scholars and conservators employing advanced technical imaging alight analysis. The present painting was exhibited in the “Late Raphael” exhibition, but due to acceptable issues the Warsaw panel could not be included. However, essential 2013 the two paintings were shown together in a target exhibition in Warsaw and put through in a conference convened unpleasant incident 4 February 2013.
The conjecture of that conference are connected in the 2014 publications unimportant above. These confirmed that both versions of the composition cast-offs autograph and that they were executed side-by-side in the employ studio. Technical images of dignity paintings demonstrated that the foremost figures were prepared using loftiness same cartoon.
Infrared reflectography further revealed identical compositional changes response the underdrawing—a group of the ladies\' were planned to the manage of Saint Joseph in both works, but were not stained (Fig. 2).[v]Although it was hopeless to determine the primacy discern either version, the many uncertainties between the two paintings—most especially in the landscape treatment vital palette but also in minutiae such as Saint Catherine’s hair-style, tiara, and her fastened be a symbol of unfastened sandal—reveal the creative dispute involved in the gestation marvel at these two related compositions.