The Cleveland Museum of Art

• Provenance
  Until 1928

  Marques de la Cueva del Rey, sold to Galerie Heinemann

  1928-1930

  (Galerie Heinemann, Munich, sold to Alessandro Contini-Bonacossi)

  1930-probably 1955

  Alessandro Contini-Bonacossi (1878-1955), Florence, Italy, by descent to his heirs

  Probably 1955-late 1950s

  Family of Contini-Bonacossi, probably consigned to Pinakos, Inc.

  Late 1950s-1969

  (Pinakos, Inc./Rudolf J. Heinemann, New York, NY, sold to the Cleveland Museum of Art)

  1969-

  The Cleveland Museum of Art, Cleveland, Ohio

  Provenance Footnotes

  1 1 The title of the Marqueses de la Cueva del Rey was created by Carlos II of Spain in 1690, and so it is possible that the family were the original owners of the painting, and that it remained in their possession from its execution in the late 1790s until 1928.

  2 1 The painting’s Heinemann inventory number was 18609.

  3 1 Contini-Bonacossi began collecting and dealing works of art around 1918, after settling in Rome.  While he acquired the Goya prior to the war, Contini-Bonacossi did engage in wartime art dealing with Hermann Göring. Contini-Bonacossi sold a large number of works to Göring through art dealer Andreas Hofer; the OSS Consolidated Interrogation Report No. 2 contains a list of 49 artworks purchased by Hofer on behalf of Göring from Contini-Bonacossi (Saint Ambrose was not among them).  In 1927 Contini-Bonacossi met Samuel H. Kress in Rome and began to sell him works of art. He continued to do so during Kress's annual trips to Italy which lasted until 1941, when both Italy and the United States ceased to be neutral nations in the war.  Contini-Bonacossi resumed his art business dealings with Kress in the late 1940s and 1950.  He also sold hundreds of works to the Kress Foundation, most of which were later donated to the National Gallery of Art.  Contini-Bonacossi promised to bequeath his entire collection to the Italian state, but ultimately, only 144 works were actually given to the Italian state; they are now part of the Uffizi collection.  Saint Ambrose was among those works not bequeathed to Italy; the painting instead remained in his family at least until the late 1950s.

  4 1 Contini-Bonacossi’s heirs likely consigned the painting to Pinakos, Inc. after his death in 1955.

  5 1I n the 1940s and 1950s, Pinakos, Inc. was the firm name used by Rudolf Heinemann.
• Citations
  Lee, Sherman E. “The Year in Review for 1969.” The Bulletin of the Cleveland Museum of Art 57, no. 1 (January 1970): 1–50. Reproduced: Cover; Mentioned: p. 48, no. 145 www.jstor.org

  Lurie, Ann Tzeutschler. “Goya: St. Ambrose.” The Bulletin of the Cleveland Museum of Art 57, no. 5 (May 1970): 131–140. Mentioned and Reproduced: p. 131-140 www.jstor.org

  Gudiol, José. Goya, 1746-1828. New York: Tudor, 1971.

  Gassier, Pierre, Juliet Wilson Bareau, and François Lachenal. The Life and Complete Work of Francisco Goya; with a Catalogue Raisonné of the Paintings, Drawings and Engravings. New York: Reynal, in association with W. Morrow, 1971.

  The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. Reproduced: p. 152 archive.org

  The Cleveland Museum of Art. The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries. Cleveland, OH: The Cleveland Museum of Art, 1982. Reproduced: p. 490; Mentioned: p. 491-492

  Cleveland Museum of Art. European Paintings of the 16th, 17th, and 18th Centuries. Cleveland: Cleveland Museum of Art, 1982.

  Morales y Marín, José Luis. Goya: A Catalogue of His Paintings. Saragossa: Real Academia de Nobles y Bellas Artes de San Luis, 1997.

  Fundación Goya en Aragón, accessed March 14, 2014. www.fundaciongoyaenaragon.es

  Galerie Heinemann Online, accessed March 16, 2014. heinemann.gnm.de

  Wilson-Bareau, Juliet and Leah Rosenblatt Lehmbeck. Goya in the Norton Simon Museum. Pasadena: Norton Simon Museum, 2016. Mentioned: p. 85; Reproduced: p. 86, fig. 49

  Provenance Footnotes

  1 1 The title of the Marqueses de la Cueva del Rey was created by Carlos II of Spain in 1690, and so it is possible that the family were the original owners of the painting, and that it remained in their possession from its execution in the late 1790s until 1928.

  2 1 The painting’s Heinemann inventory number was 18609.

  3 1 Contini-Bonacossi began collecting and dealing works of art around 1918, after settling in Rome.  While he acquired the Goya prior to the war, Contini-Bonacossi did engage in wartime art dealing with Hermann Göring. Contini-Bonacossi sold a large number of works to Göring through art dealer Andreas Hofer; the OSS Consolidated Interrogation Report No. 2 contains a list of 49 artworks purchased by Hofer on behalf of Göring from Contini-Bonacossi (Saint Ambrose was not among them).  In 1927 Contini-Bonacossi met Samuel H. Kress in Rome and began to sell him works of art. He continued to do so during Kress's annual trips to Italy which lasted until 1941, when both Italy and the United States ceased to be neutral nations in the war.  Contini-Bonacossi resumed his art business dealings with Kress in the late 1940s and 1950.  He also sold hundreds of works to the Kress Foundation, most of which were later donated to the National Gallery of Art.  Contini-Bonacossi promised to bequeath his entire collection to the Italian state, but ultimately, only 144 works were actually given to the Italian state; they are now part of the Uffizi collection.  Saint Ambrose was among those works not bequeathed to Italy; the painting instead remained in his family at least until the late 1950s.

  4 1 Contini-Bonacossi’s heirs likely consigned the painting to Pinakos, Inc. after his death in 1955.

  5 1I n the 1940s and 1950s, Pinakos, Inc. was the firm name used by Rudolf Heinemann.
• Exhibition History
  Masterworks from The Phillips Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).

  Cleveland, Ohio: The Cleveland Museum of Art; February 20 - May 29, 2005. "Masterworks from The Phillips Collection". Not in exh. cat.

  Goya, un regard libre (Goya, Another Look). Palais des Beaux Arts de Lille, Lille, France (December 11, 1998-March 14, 1999); Philadelphia Museum of Art, Philadelphia, PA (April 17-July 11, 1999).

  Lille, France: Palais de Beaux-Arts de Lille 12/11/98 - 3/21/99; Philadelphia Museum of Art 4/11/99 - 7/11/99 "Goya, un regard libre (Goya, Another Look)"

  Goya y el nacimiento del liberalismo (Goya and the Spirit of Enlightenment). Museo del Prado, Madrid, Spain (organizer) (co-organizer) (October 6-December 18, 1988); Museum of Fine Arts, Boston, Boston, MA (co-organizer) (January 18-March 26, 1989); The Metropolitan Museum of Art, New York, NY (co-organizer) (May 9-July 16, 1989).

  Madrid, Spain, Prado Museum, October 4-December 18, 1988: "Goya and the Spirit of Enlightenment," cat. # 22, pp. 50-55, repr. clr. p. 52, detail p. 53 (clr.) Boston, MA, Museum of Fine Arts, January 18-March 26, 1989, New York, NY, Metropolitan Museum of Art, May 9-July 16, 1989

  Year in Review: 1969. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).

  CMA 1970: "Year in Review 1969," Bulletin LVII (January, 1970), cat. # 145, repr. pl. I (clr).

  Rome, Valle Guilia, Galeria Nazionale d'arte Modera, 1930: "gli Antichi Pittori Spagnoli della collezione Contini-Bonacossi," cat. # 28, pl. XIX.

  Provenance Footnotes

  1 1 The title of the Marqueses de la Cueva del Rey was created by Carlos II of Spain in 1690, and so it is possible that the family were the original owners of the painting, and that it remained in their possession from its execution in the late 1790s until 1928.

  2 1 The painting’s Heinemann inventory number was 18609.

  3 1 Contini-Bonacossi began collecting and dealing works of art around 1918, after settling in Rome.  While he acquired the Goya prior to the war, Contini-Bonacossi did engage in wartime art dealing with Hermann Göring. Contini-Bonacossi sold a large number of works to Göring through art dealer Andreas Hofer; the OSS Consolidated Interrogation Report No. 2 contains a list of 49 artworks purchased by Hofer on behalf of Göring from Contini-Bonacossi (Saint Ambrose was not among them).  In 1927 Contini-Bonacossi met Samuel H. Kress in Rome and began to sell him works of art. He continued to do so during Kress's annual trips to Italy which lasted until 1941, when both Italy and the United States ceased to be neutral nations in the war.  Contini-Bonacossi resumed his art business dealings with Kress in the late 1940s and 1950.  He also sold hundreds of works to the Kress Foundation, most of which were later donated to the National Gallery of Art.  Contini-Bonacossi promised to bequeath his entire collection to the Italian state, but ultimately, only 144 works were actually given to the Italian state; they are now part of the Uffizi collection.  Saint Ambrose was among those works not bequeathed to Italy; the painting instead remained in his family at least until the late 1950s.

  4 1 Contini-Bonacossi’s heirs likely consigned the painting to Pinakos, Inc. after his death in 1955.

  5 1I n the 1940s and 1950s, Pinakos, Inc. was the firm name used by Rudolf Heinemann.
• Cite this Page
  {{cite web|title=Saint Ambrose|url=false|author=Francisco de Goya|year=c. 1796–1799|access-date=16 April 2024|publisher=Cleveland Museum of Art}}

  Provenance Footnotes

  1 1 The title of the Marqueses de la Cueva del Rey was created by Carlos II of Spain in 1690, and so it is possible that the family were the original owners of the painting, and that it remained in their possession from its execution in the late 1790s until 1928.

  2 1 The painting’s Heinemann inventory number was 18609.

  3 1 Contini-Bonacossi began collecting and dealing works of art around 1918, after settling in Rome.  While he acquired the Goya prior to the war, Contini-Bonacossi did engage in wartime art dealing with Hermann Göring. Contini-Bonacossi sold a large number of works to Göring through art dealer Andreas Hofer; the OSS Consolidated Interrogation Report No. 2 contains a list of 49 artworks purchased by Hofer on behalf of Göring from Contini-Bonacossi (Saint Ambrose was not among them).  In 1927 Contini-Bonacossi met Samuel H. Kress in Rome and began to sell him works of art. He continued to do so during Kress's annual trips to Italy which lasted until 1941, when both Italy and the United States ceased to be neutral nations in the war.  Contini-Bonacossi resumed his art business dealings with Kress in the late 1940s and 1950.  He also sold hundreds of works to the Kress Foundation, most of which were later donated to the National Gallery of Art.  Contini-Bonacossi promised to bequeath his entire collection to the Italian state, but ultimately, only 144 works were actually given to the Italian state; they are now part of the Uffizi collection.  Saint Ambrose was among those works not bequeathed to Italy; the painting instead remained in his family at least until the late 1950s.

  4 1 Contini-Bonacossi’s heirs likely consigned the painting to Pinakos, Inc. after his death in 1955.

  5 1I n the 1940s and 1950s, Pinakos, Inc. was the firm name used by Rudolf Heinemann.