Provenance
Cardinal Antonio Despuig y Dameto [d. 1813], Raxa, Palma de Mallorca; by descent to Counts of Montenegro, Raxa, Palma de Mallorca.[1] Leon de Somzée, Brussels, by 1899.[2] Gaston de Somzée, Brussels;[3] purchased May 1902 through (Charles Fairfax Murray) by (Agnew & Sons, London); sold January 1906 to (Sedelmeyer Gallery, Paris).[4] (Eugene Fischhof, Paris and New York); sold April 1907 to Peter A. B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[5] inheritance from Estate of Peter A. B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA.
[1] The first mention of the painting is Joaquín María Bover, _Noticia Histórica-Artística de los Museos del Eminetísimo Señor Cardinal Despuig Existentes en Mallorca_ (Palma, 1845), 178, no. 152, 194, no. 207, and 195, no. 216. See also Darl Justi, "Altflandrische Bilder in Spanien und Portugal," _Zeitschrift für Kunstgeschichte_ 21 (1886), 137-138. For the life of Cardinal Despuig, see Luis Ripoll, _Raxa y el Cardinal Despuig_ (Palma de Mallorca, 1954), 8-15, and Jaime Salva, _El Cardinal Despuig_ (Palma de Mallorca, 1964).
[2] _Exhibition of Pictures by Masters of the Flemish and British Schools including a Selection from the Works of Sir Peter Paul Rubens_ (London, The New Gallery, 1899-1900), no. 52.
[3] _Exposition des Primitifs flamands et d'art ancien_ (Bruges, Hôtel de Gouvernement Provincial, 1902), no. 125, lists C. and G. de Somzée, but Sedelmeyer Gallery, _Illustrated Catalogue of the Tenth Series of 100 Paintings by Old Masters_ (Paris, 1906), 9, lists Gaston de Somzée.
[4] Agnew's Picture Stock Book no. 9, pp 256-7 and no. 10, pp. 24-25, National Gallery London Reference no. NGA 27/1/1/9-10 (copies NGA curatorial files).
[5] Unpublished document from the Widener papers in the NGA curatorial files that appears to be a copy of a receipt of 1 April 1907; the transaction was part purchase, part exchange, with Fischhof receiving an _Assumption of the Virgin_ by Murillo. Fischhof is not mentioned in the provenance given in _Catalogue of Paintings forming the Private Collection of P.A.B. Widener_ (Ashbourne, Pennsylvania, 1908), 155.
The Saint Anne Altarpiece: Saint Anne with the Virgin and Child [middle panel]
c. 1500/1520
Accession Number
1942.9.17.b
Medium
oil on panel
Dimensions
painted surface (including addition at top): 232.5 x 96 cm (91 9/16 x 37 13/16 in.) | overall (panel): 236.1 x 97.5 cm (92 15/16 x 38 3/8 in.)
Classification
Painting
Credit Line
Widener Collection
Tags
Painting Renaissance (1400–1599) Oil Painting Panel Painting Netherlandish
Background & Context
Background Story
Gerard David (c. 1460-1523) was a Netherlandish painter known for the combination of Netherlandish detail and Italian compositional grandeur that distinguishes his best work from the more austere Netherlandish tradition. The Saint Anne Altarpiece from c. 1500-1520 is a major work attributed to David and his workshop, depicting Saint Anne with the Virgin and Child in the middle panel of a triptych. The collaborative workshop attribution indicates that the painting was produced in David's Bruges workshop with the assistance of workshop members, the standard method of production for Netherlandish altarpieces of the period.
Cultural Impact
The Saint Anne Altarpiece is important in the history of Netherlandish painting because it demonstrates the combination of Netherlandish detail and Italian compositional grandeur that distinguishes David's best work. The altarpiece format allowed David to combine the devotional detail of the Netherlandish tradition with the compositional grandeur that he learned from Italian art, creating a type of Netherlandish painting that is simultaneously detailed and monumental.
Why It Matters
The Saint Anne Altarpiece is David's Netherlandish detail meets Italian grandeur: Saint Anne with the Virgin and Child rendered in the middle panel of a workshop-produced altarpiece that combines Netherlandish devotional detail with Italian compositional monumentality. The c. 1500-1520 painting is David's major altarpiece format at its most accomplished.