The Marriage of the Virgin
- Artist
- Jan van Doornick, South Netherlandish, c.1470–c.1527
- Date
- 1515–20
- Material
- Oil on panel
- made in
- Antwerp, Antwerpen province, Belgium, Europe
- Classification
- Paintings
- Current Location
- Not on view
- Dimensions
- 25 x 27 1/8 in. (63.5 x 68.9 cm)
framed: 31 1/2 x 33 3/4 in. (80 x 85.7 cm) - Credit Line
- Museum Purchase
- Rights
- Contact Us
- Object Number
- 29:1929
NOTES
Joseph and Mary exchange their vows witnessed by guests wearing extravagant, almost whimsical costumes, the results of the artist’s fertile imagination. Details of Mary’s life were drawn from non-biblical stories and medieval legends. Her marriage to Joseph became a particularly popular subject for visual representation after the 13th century. Van Dornicke has followed visual tradition in using architecture to suggest religious change. The Temple of Jerusalem, cited in the Old Testament, is depicted as a circular building (left) and denotes the age before Christ. The cathedral (center) signifies a new Christian era when Mary gave birth to Christ.
Provenance
- 1862
Johann Peter Weyer, Cologne, Germany
1862/08/25
In auction at the sale of the Weyer collection by J. M. Herberle, Cologne, Germany, August 25, 1862, lot no. 194 [1]
by 1883 - still in 1915
Prince Karl Anton of Hohenzollern-Sigmaringen (1811-1885), Sigmaringen, Germany; Prince Leopold of Hohenzollern-Sigmaringen (d.1905), Sigmaringen, Germany, by inheritance; Prince Wilhelm of Hohenzollern-Sigmaringen (d.1927), Sigmaringen, Germany, by inheritance [2]
by 1928 - 1929
A. S. Drey, Munich, Germany, and New York, NY, USA [3]
1929 -
Saint Louis Art Museum, purchased from A. S. Drey [4]
Notes:
[1] According to an 1862 sales catalogue and the bill of sale from A. S. Drey, the painting was formerly owned by Johann Weyer ["Reichen Gemälde-Gallerie des Herrn J. P. Weyer." J. M. Herberle, Cologne, Germany, August 25, 1862, lot no. 194, p. 53; bill of sale dated January 6, 1930, SLAM document files].
[2] The painting is listed in an 1883 inventory of the Hohenzollern-Sigmaringen collection [Lehner, F. A. von. "Fürstlich Hohenzollernsches Museum zu Sigmaringen, Verzeichness der Gemälde." 2nd edition. Sigmaringen: Druck der Hofbuch. von C. Tappen, 1883, cat. no., 17, p. 6]. A 1915 publication notes that the painting was still in the Sigmaringen collection [Friedländer, Max. "Die Antwerpner manieristen von 1520." "Jahrbuch der königlisch preussischen kunstsammlungen." Vol. 36 (1915), p. 82]. It is unknown when the painting left the Prince's collection.
The Sigmaringen collection was founded by Prince Karl Anton von Hohenzollern-Sigmaringen (1811-1885). He was succeeded in the title by Prince Leopold (titled 1885-1905) and Prince Wilhelm (titled 1905-1927) who further enhanced the collection. Until its dispersal in the late 1920s, the collection was housed in the Fürstlich Hohenzollernsches Museum für Wissenschaft und Kunst, Sigmaringen.
A. S. Drey's bill of sale (see note 1) also states that the painting once belonged to the "Prince of Hohenzollern-Sigmaringen, Castle of Sigmaringen."
[3] According to a 1928 exhibition catalogue, the painting was in the collection of A. S. Drey [Friedlander, Max J. "Flemish Primitives Formerly in the Collection of the Prince of Hohenzollern-Sigmaringen." New York: A. S. Drey, 1928, unpaginated].
[4] See note [1]. Minutes of the Administrative Board of Control of the City Art Museum, June 5, 1929.
Johann Peter Weyer, Cologne, Germany
1862/08/25
In auction at the sale of the Weyer collection by J. M. Herberle, Cologne, Germany, August 25, 1862, lot no. 194 [1]
by 1883 - still in 1915
Prince Karl Anton of Hohenzollern-Sigmaringen (1811-1885), Sigmaringen, Germany; Prince Leopold of Hohenzollern-Sigmaringen (d.1905), Sigmaringen, Germany, by inheritance; Prince Wilhelm of Hohenzollern-Sigmaringen (d.1927), Sigmaringen, Germany, by inheritance [2]
by 1928 - 1929
A. S. Drey, Munich, Germany, and New York, NY, USA [3]
1929 -
Saint Louis Art Museum, purchased from A. S. Drey [4]
Notes:
[1] According to an 1862 sales catalogue and the bill of sale from A. S. Drey, the painting was formerly owned by Johann Weyer ["Reichen Gemälde-Gallerie des Herrn J. P. Weyer." J. M. Herberle, Cologne, Germany, August 25, 1862, lot no. 194, p. 53; bill of sale dated January 6, 1930, SLAM document files].
[2] The painting is listed in an 1883 inventory of the Hohenzollern-Sigmaringen collection [Lehner, F. A. von. "Fürstlich Hohenzollernsches Museum zu Sigmaringen, Verzeichness der Gemälde." 2nd edition. Sigmaringen: Druck der Hofbuch. von C. Tappen, 1883, cat. no., 17, p. 6]. A 1915 publication notes that the painting was still in the Sigmaringen collection [Friedländer, Max. "Die Antwerpner manieristen von 1520." "Jahrbuch der königlisch preussischen kunstsammlungen." Vol. 36 (1915), p. 82]. It is unknown when the painting left the Prince's collection.
The Sigmaringen collection was founded by Prince Karl Anton von Hohenzollern-Sigmaringen (1811-1885). He was succeeded in the title by Prince Leopold (titled 1885-1905) and Prince Wilhelm (titled 1905-1927) who further enhanced the collection. Until its dispersal in the late 1920s, the collection was housed in the Fürstlich Hohenzollernsches Museum für Wissenschaft und Kunst, Sigmaringen.
A. S. Drey's bill of sale (see note 1) also states that the painting once belonged to the "Prince of Hohenzollern-Sigmaringen, Castle of Sigmaringen."
[3] According to a 1928 exhibition catalogue, the painting was in the collection of A. S. Drey [Friedlander, Max J. "Flemish Primitives Formerly in the Collection of the Prince of Hohenzollern-Sigmaringen." New York: A. S. Drey, 1928, unpaginated].
[4] See note [1]. Minutes of the Administrative Board of Control of the City Art Museum, June 5, 1929.