Luca Giordano* (1632-1705)
The Immaculate Conception
signed and dated 'Lucas Jordanus/F./1657.'
oil on canvas
78 7/8 x 59¼in. (200.5 x 150.5cm.)
Count Razumovsky, by whom taken to Russia in the 18th century.
Princess Glebovo-Streshnevo-Shahovskoy, Moscow.
Art market, U.S.A., 1926.
Oscar B. Cintas; his sale Parke Bernet, New York, May 1, 1963, lot 19 described as Giordano 'after Murillo' and as dated 1682.
O. Ferrari and G. Scavizzi, Luca Giordano, 1966, I, p. 236, II, p. 368, and III, fig. 621, described as dated 1682.
J.T. Spike, Painting in Naples, 1653-1747, in the catalogue of the exhibition, A Taste for Angels: Neapolitan Painting in North America 1650-1750, Yale University Art Gallery, New Haven, CT, John and Mable Ringling Museum of Art, Sarasota, FL, and Nelson-Atkins Museum of Art, Kansas City, MO, Sept. 1987-June 1988, p. 19, fig. 10, correctly noting the date as 1657.
Winter Park, Florida, Rollins College, Cornell Fine Arts Museum, Italian Renaissance & Baroque Paintings in Florida Museums, March 14-May 5, 1991.
Due to the misreading of the date at the time of the 1963 sale, the importance of this painting has not hitherto been recognized. It reflects very closely the style of Ribera in such works as the Harrach Immaculate Conception of 1637.