click image to enlarge

Giovanni Battista Tiepolo
Study for a Ceiling with the Personification of Counsel

before c. 1762
oil on canvas
27 x 49 cm (10 5/8 x 19 5/16 in)
Possibly Edward Cheney [1803-1884], London, after 1860 Badger Hall, Shropshire; [1] possibly by inheritance to his brother-in-law, Colonel Alfred Capel-Cure [1826-1896]; by inheritance to his nephew, Francis Capel-Cure [1854-1933], Badger Hall, Shropshire. [2] (Count Alessandro Contini-Bonacossi, Florence); [3] purchased 1932 by the Samuel H. Kress Foundation, New York; [4] gift 1939 to NGA.

[1] National Gallery of Art, Preliminary Catalogue of Paintings and Sculpture, Washington, D.C., 1941: 192, and a note in the Kress records, NGA curatorial records, placed the painting "formerly in the Capel-Cure Collection," most of which was inherited from Cheney as recounted by George Knox, Catalogue of the Tiepolo Drawings in the Victoria and Albert Museum, 2nd edition, London, 1975: 4-5. Gustav Waagen, Galleries and Cabinets of Art in Great Britain, London, 1857: 173, noted that Cheney had a collection of nineteen sketches for ceilings executed for churches in Venice, and 171, that Cheney acquired most of his collection while resident in Venice. A number of these were sold at Christie, Manson and Woods, London, on 29 April 1885; the present painting may have been included in lot 170, "Three designs for ceilings."
[2] Placed in this collection by NGA 1941: 192, and a note in the Kress records, NGA curatorial files. The painting does not appear in the Francis Capel-Cure sale held at Christie, Manson and Woods, London, 6 May 1905, or in the list given by Eduard Sack, Giambattista und Domenico Tiepolo. Ihr Leben und Ihre Werke, Hamburg, 1910: 223, of paintings then owned by Francis Capel-Cure. Perhaps Sack had rejected the attribution or was not aware of the painting's existence.
[3] According to Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian Schools XVI-XVIII Century, London, 1973: 148; Fern Rusk Shapley, Catalogue of Italian Paintings, 2 vols., Washington, D.C., 1979: 1:442.
[4] A typed notation in the Kress records, NGA curatorial files, states that the painting was acquired in 1932 without stating from whom.
Record Link