National Gallery of Canada / Musée des beaux-arts du Canada

Bulletin 1 (I:1) May 1963

Annual Index
Author & Subject

A Review of Accessions since 
the Catalogues of 1957 and 1959 
European and American Painting and Sculpture

by R. H. Hubbard, Chief Curator

1  |  2  |  3


l Letter to dealer from Dr Ulrich Middeldorf, Kunsthistoriches Institut, Florence.

2 Sold at Georges Petit, Paris, 5-10 May 1890 (reproduced in catalogue).

3 B. Berenson, Venetian Painters of the Renaissance, New York, 1894, p. 103. See also his Italian Pictures of the Renaissance, Oxford, 1932, PI. 138, and Italian Pictures of the Renaissance: Venetian School, London, 1957, I, p. 62, PI. 604.

4 A signature, formerly on the picture, JACO* VS PALMA F (or P), which was always questioned and which was partly responsible for this. See Sir Charles Holmes, "Giorgione Problems at Trafalgar Square", Burlington Magazine, XLII, 1923, pp. 231-2, PI. iA; W. G. Constable, Paintings by Italian Masters in the Possession of William Woodward, Privately printed, Oxford, 1928, pp. 21-3, No.23, PI. XXIII. See also A. Venturi, Storia dell' Arte Italiana, Milan, 1915, VII, iv, p. 574, PI. 357 (as 'Anonimo belliniano').

5 G. Robertson, Vincenzo Catena, Edinburgh, 1954, pp. 27, 33, 53, 61-3, No. 38, PI. 34.

6 Sir Henry Hoare, Stourhead, Wilts (sale, Christie's, 2 June 1883, No. 52, as Palma); J. P. Heseltine, London, 1884 (sale, Christie's 18 June 1920, No. 61); W. H. Woodward, London.

7 C. Hofstede de Groot, Catalogue Raisonne of the Most Eminent Dutch Painters, London, 1908, I, pp. 44-5, No. 122. See also W. Martin, Zeitschrift für bildende Kunst, 1927-8, p. 333, No. 61; Thieme-Becker, Allgemeines Lexikon der bildenden Künstler, Leipzig, 1937, XXXI, p. 511. Former collections: Bellefroid (1882); De Kayser, Breda; Michotte, Brussels; P. Mersch, Paris (sale, Keller & Reiner, Berlin, 1 March 1905, No. 104); E. Messerli, Rumligen; Sale, New York, 22 Jan. 1931, No. 69.

8 Hofstede de Groat, No. 121.

9 Certificates of 1955 and 1957 respectively.

10 Oud-Hooland, LXX, 1955, p. 188, Pl. 8.

11 Netherlands Yearbook for the History of Art, 1960, pp.

12 J. Greig, Sir Henry Raeburn: His Life and Works, London, 1911, p. 42.

13 Edinburgh, National Gallery of Scotland, Raeburn, 1951, No.52; Edinburgh, National Gallery of Scotland, Raeburn Bicentenary Exhibition, organized by the Arts Council of Great Britain, 1956, No.23.

14 A. Frankenstein, After the Hunt: William Harnett and other American Still Life Painters, 1870-1900, Berkely and Los Angeles, 1953, p. 169, No. 82.

15 Fine Arts Journal, XXVII, 1912, reprod. p. 464; American Magazine of Art, XXII, 1931, reprod. p. 441; H. Saint-Gaudens, American Artist and his Times, New York, 1941, p. 200, PI. 40; J. Walker and M. James, Great American Paintings from Smibert to Bellows, 1729-1924, London, 1943, PI. 97; Exhibited: Paris, Musée du Jeu de Paume, Trois siècles d'art aux Etats-Unis, 1938, No. 75, reprod. in cat., PI. 25; Pittsburgh, Carnegie Institute, Survey of American Painting, 1940, No. 219, reprod.

16 In 1958 the Massey Foundation gave paintings by two lesser painters, Michael Ross and Nigel Newton (not to form part of the Massey Collection of English Painting) and one by the Swiss primitive Adolf Dietrich.

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