Christ and the Woman of Samaria
Artist
Pierre Mignard
French, 1612–1695, active in Rome 1635–1657/58
Date1681
MediumOil on canvas
Dimensions48 x 63 in. (121.9 x 160 cm)
Frame: 65 1/2 x 79 3/4 in. (166.4 x 202.6 cm)
Frame: 65 1/2 x 79 3/4 in. (166.4 x 202.6 cm)
ClassificationsPaintings
Credit LinePurchased with funds from the State of North Carolina
Object number52.9.127
On View
Not on viewProvenancePainted for Mlle. De Guise (1615–1688) in 1681; bequeathed to Louis de Lorraine, comte d’Armagnac (1641–1718); collection Earl Waldegrave; (sale, London, Prestage, November 16, 1763, lot 37) [1]; sold to Brown; Richard Grosvenor (1795–1869), 2nd Marquess of Westminster, by 1857 [2]; by descent to Hugh Richard Arthur Grosvenor (1879–1953), 2nd Duke of Westminster (sale, London, Christie’s, 4 July 1924, lot 20; sold to Brunner [3]; Wildenstein, Paris and New York, in 1925 and 1946; sold to NCMA 1952 [4].
[1] Algernon Graves, Art Sales, London, 1921, gives a sales price. An annotated copy of the catalogue at the Rijksbureau voor Kunsthistorische Dokumentatie [RKD] notes a slightly smaller sales price.
[2] Noted as lender to the Art Treasures Exhibition, Manchester, 1857.
[3] Possibly Charles Brunner, Paris, who could have been acting on behalf of Wildenstein, who owned the painting in 1925. See no. 4.
[4] Lent by Wildenstein to Le Paysage Français de Poussin à Corot (exh. Petit Palais, Paris, May-June 1925), no. P. 212, as well as to A Loan Exhibition of French Painting of the Time of Louis XIIIth and Louis XIVth… (exh. Wildenstein, New York, May 9-June 1, 1946), p. 61, no. 36, ill. p. 57. No lender is noted in Catalogue of European & American Paintings 1500-1900; Masterpieces of Art, New York World’s Fair, May-October 1940, where the painting was exhibited as no. 62. Note there are no names of dealers mentioned as lenders to the exhibition, only private collectors and museums.
[1] Algernon Graves, Art Sales, London, 1921, gives a sales price. An annotated copy of the catalogue at the Rijksbureau voor Kunsthistorische Dokumentatie [RKD] notes a slightly smaller sales price.
[2] Noted as lender to the Art Treasures Exhibition, Manchester, 1857.
[3] Possibly Charles Brunner, Paris, who could have been acting on behalf of Wildenstein, who owned the painting in 1925. See no. 4.
[4] Lent by Wildenstein to Le Paysage Français de Poussin à Corot (exh. Petit Palais, Paris, May-June 1925), no. P. 212, as well as to A Loan Exhibition of French Painting of the Time of Louis XIIIth and Louis XIVth… (exh. Wildenstein, New York, May 9-June 1, 1946), p. 61, no. 36, ill. p. 57. No lender is noted in Catalogue of European & American Paintings 1500-1900; Masterpieces of Art, New York World’s Fair, May-October 1940, where the painting was exhibited as no. 62. Note there are no names of dealers mentioned as lenders to the exhibition, only private collectors and museums.
Published ReferencesCatalogue de la vente du duc de West minister 4 Juillet (1924), no. 20.
L. Hourtieq, Dacier, Wildenstein and others, Le paysage francais de Poussin à Corot: catalogue des peintures et dessins (1926), 128.
Algernon Graves, A Century of Loan Exhibitions 2, cited 799.
W. R. Valentiner, Catalogue of Paintings: Including Three Sets of Tapestries (Raleigh: North Carolina Museum of Art, 1956), no. 155, illus. (b-w).
La peinture francaise du XVII siecle dans les collections Americaines (exhibition catalogue) (Paris: Grand Palais, 1982), cat. no. 70, illus.
Edgar Peters Bowron, ed., Introduction to the Collections (Chapel Hill: published for the North Carolina Museum of Art, Raleigh, NC, by The University of North Carolina Press, 1983), illus. (b-w) 147.
Christopher Wright, The French Painters of the 17th Century (London, 1985), 230.
Introduction to the Collections, rev. ed. (Raleigh: North Carolina Museum of Art, 1992), illus. (b-w) 125.
Journey into the Masterpieces [12]: Time Through Painting [17th Century II] (Watano Matsuzaki Communication bv, 1994), illus. (color) 125, fig. 6-17.
Jean-Claude Boyer, Le peintre, le roi, le héros: l'Andromède de Pierre Mignard (Paris: Editions de la Réunion des musées nationaux, n.d.), 49, illus. fig. 25.
Janice T. Grana, ed., The Upper Room (July-August, 1996), illus. (color) cover.
Joseph P. Covington, entry for Christ and the Woman of Samaria, in North Carolina Museum of Art: Handbook of the Collections, Rebecca Martin Nagy, ed. (Raleigh: North Carolina Museum of Art, 1998), 141, illus. (color).
Elizabeth Johns, ed., One Hundred Stories: Highlights from the Washington County Museum of Fine Arts (Hagerstown, MD: Washington County Museum of Fine Arts, 2008), noted and illus. (b-w) 90.
Joseph P. Covington, entry for Christ and the Woman of Samaria, in North Carolina Museum of Art: Handbook of the Collections, rev. ed. (Raleigh: North Carolina Museum of Art, 2010), 296, illus. (color) 297.
Exhibition HistoryManchester, 1857, cat. no. 707.
Paris, Petit Palais, 1925, cat. no. 212.
New York, NY, World's Fair, 1940, cat. no. 62.
New York, NY, Wildenstein, "French Paintings of the time of Louis XIII andXIV," 1946, cat. no. 35.
Baltimore, MD, The Walters Art Gallery, "French Painting of the 17th Century," March 28-June 11, 1961.
Paris, Grand Palais, "French Painting of the Seventeenth Century in American Collections," January-March, 1982; New York, NY, The Metropolitan Museum of Art, April-July, 1982, cat. no. 70.
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