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Saint Mary Salome and Her Family

Bernhard Strigelc. 1520/1528

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

_Saint Mary Salome and Her Family_ together with its companion piece _Saint Mary Cleophas and Her Family_, also in the National Gallery, were wings from an altarpiece combining painting and sculpture that was dedicated to the Holy Kinship or extended family of Christ. There was a fascination with the details of the life of the Holy Family as well as a growing desire to experience the Gospels on a human level in the late Middle Ages. According to the _Golden Legend_, written about 1270 as a compilation of earlier tales, Saint Anne married three times, her third husband being the father of Mary Salome, who was thus the half-sister of the Virgin Mary.


Strigel, who worked in Memmingen, a small city in the southern German province of Bavaria, makes Mary Salome the center of a comfortable domestic scene. Her father Salomas, wearing characteristic Jewish headgear, hovers behind her, while her husband Zebedee sits beside her. Their two small sons James and John are identifiable by the names inscribed on their halos. They will grow up to be disciples of Christ, and indeed Saint John is already busy writing a book in Hebrew like characters, foretelling his future activity as one of the four authors of the Gospels.


More information on this painting can be found in the Gallery publication _German Paintings of the Fifteenth through Seventeenth Centuries_, which is available as a free PDF <u>https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/german-painting-fifteenth-through-seventeenth-centuries.pdf</u>

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  • Title: Saint Mary Salome and Her Family
  • Creator: Bernhard Strigel
  • Date Created: c. 1520/1528
  • Physical Dimensions: overall: 125 x 65.7 cm (49 3/16 x 25 7/8 in.)
  • Provenance: Possibly O. Streber, Munich.[1] (Haskard Bank, Florence, and Charles Fairfax Murray, as agent, by 1900);[2] sold 1900 to (Thomas Agnew & Sons, Ltd., London); sold May 1900 to Rodolphe Kann [d. 1905], Paris;[3] by descent to executors of the Kann estate: Edouard Kann, Paris; Betty Schnaffer [née Kann], Frankfurt; Martin and Eleanore [née Kann] Bromberg, Hamburg; Jacob and Mathilde [née Kann] Emden, Hamburg, and Edmond and Madeline [née Kann] Bickard See, Paris.[4] (Duveen Brothers, Paris, August, 1907);[5] purchased August 1907 by members of the Kann family, possibly Martin and Eleanore Bromberg, Hamburg.[6] Probably Dr. Max Emden, Switzerland, by 1939.[7] (Wildenstein & Co., New York, by 1939);[8] purchased February 1954 by the Samuel H. Kress Foundation, New York;[9] at the NGA from 1956; gift 1961 to NGA. [1] Unverified, cited by Alfred Stange, _Kritisches Verzeichnis der deutschen Tafelbelder vor Dürer_. 3 vols. (Munich, 1970), 2: 204, no. 899. [2] Letter of 24 January 1969, from Richard Kingzett, Thos. Agnew & Sons, Ltd., London, to Colin Eisler, in NGA curatorial files. [3] Kingzett letter of 24 January 1969 cited above. [4] Duveen stockbook in archives at the Metropolitan Musuem of Art, New York; see letter of 23 February 1987 from Guy Bauman, Department of European Paintings to John Hand in NGA curatorial files. [5] Guy Bauman letter cited above and Edward Fowles, _Memories of Duveen Brothers_ (London, 1976), 36-43. [6] Bauman letter, cited in note 4, notes that in both the stockbook and the salesbook, the paintings are listed only as having been sold to "Kann relations." [7] Wildenstein & Co. brochure in NGA Kress files lists Bromberg and Dr. Emden as previous owners. [8] Letter of 14 September 1988 from Ay-Whang Hsia, Wildenstein & Co., to John Hand, in NGA curatorial files. [9] William E. Suida, _Paintings and Sculpture of the Samuel H. Kress Collection_. (Denver, 1954), 64, no. 28; letter of 10 November 1987 to John Hand from Louise H. Kliopov, Denver Art Museum, in NGA curatorial files (see also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1875). Eisler 1977, 26, reversed the exhibition dates for this and the _Saint Mary Salome and Her Family_ also by Strigel. The bill of sale (copy in NGA curatorial files) is dated February 10, 1954, and was for a total of fourteen paintings; payments by the Foundation continued to March 1957.
  • Rights: CC0
  • Medium: oil on panel
National Gallery of Art, Washington DC

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