{
"data": {
"id": 129803,
"accession_number": "1952.235.2",
"share_license_status": "CC0",
"tombstone": "Tobias and the Angel, 1750s. Francesco Guardi (Italian, 1712\u20131793). Oil on canvas; framed: 70.5 x 90.5 x 6.5 cm (27 3/4 x 35 5/8 x 2 9/16 in.); unframed: 56.5 x 75.5 cm (22 1/4 x 29 3/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1952.235.2",
"current_location": "201 French Neoclassical Painting & Sculpture",
"title": "Tobias and the Angel",
"creation_date": "1750s",
"creation_date_earliest": 1750,
"creation_date_latest": 1759,
"artists_tags": [
"male"
],
"culture": [
"Italy, 18th century"
],
"technique": "oil on canvas",
"support_materials": [],
"department": "European Painting and Sculpture",
"collection": "P - Italian 18th Century",
"type": "Painting",
"measurements": "Framed: 70.5 x 90.5 x 6.5 cm (27 3/4 x 35 5/8 x 2 9/16 in.); Unframed: 56.5 x 75.5 cm (22 1/4 x 29 3/4 in.)",
"dimensions": {
"framed": {
"height": 0.705,
"height_inch": 27,
"height_inch_fraction": 0.75,
"width": 0.905,
"width_inch": 35,
"width_inch_fraction": 0.625,
"depth": 0.065,
"depth_inch": 2,
"depth_inch_fraction": 0.5625
},
"unframed": {
"height": 0.565,
"height_inch": 22,
"height_inch_fraction": 0.25,
"width": 0.755,
"width_inch": 29,
"width_inch_fraction": 0.75
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [],
"exhibitions": {
"current": [
{
"id": 361397,
"title": "Mostra dei Guardi",
"description": "Mostra dei Guardi. Palazzo Grassi spa, 30124 Venice, Italy (organizer) (June 5-October 10, 1965).",
"opening_date": "1965-06-05T04:00:00"
},
{
"id": 228379,
"title": "The Allure of La Serenissima: Eighteenth-Century Venetian Art",
"description": "The Allure of La Serenissima: Eighteenth-Century Venetian Art. Oklahoma City Museum of Art, Oklahoma City, OK (organizer) (September 9, 2010-January 2, 2011).",
"opening_date": "2010-09-09T00:00:00"
}
],
"legacy": [
{
"description": "Venice, Palazzo Grassi, June 5 - October 10, 1965: \"Mostra dei Guardi,\" cat. no. 59, p. 412 (as Francesco)",
"opening_date": "1965-06-05T00:00:00"
},
{
"description": "Approved: Trustees' Minutes 6/21/1965",
"opening_date": "1965-06-21T00:00:00"
},
{
"description": "Oklahoma City Museum of Art (9/9/2010 - 1/2/2011): \"The Allure of La Serenissima: Eighteenth-Century Venetian Art\" , cat. no. 9, p. 55.",
"opening_date": "2010-09-09T00:00:00"
}
]
},
"provenance": [
{
"description": "Possibly Federigo Giovanelli, Venice",
"citations": [],
"footnotes": [
"In 1934, Rodolfo Pallucchini mentions a Guardi painting depicting the \u201cSacrifice of Abraham\u201d as possibly appearing in the 1731 will of Count Giovanni Benedetto Giovanelli. In 1964, Terisio Pignatti argued that several Guardi copies (the Cleveland paintings are all copies after paintings by other artists) listed in the 1800 inventory attached to the will of Federigo Giovanelli could be the same ones recorded in the 1731 will as executed by the \u201cFratelli Guardi.\u201d However, there are two problems with this suggestion: First, the Cleveland Guardi pictures are dated to the 1750s \u2013 twenty years after the 1731 will. Second, Alice Binion notes that the Guardi copies recorded in 1731 did not remain in the possession of the Guardi family, but rather were bequeathed to a certain Antonio de Caroli (Archivio Venice, Atti Marcello Girolamo \u2013 Testamenti 612, No. 345: \u201cAl sunominato Sigr Antonio de Caroli mio amorevole\u2026lascio le copie de quadri, che egli tiene di mia ragione, fatte dalli Fratelli Guardi\u2026\u201d). Thus, if the Cleveland Guardis are indeed those mentioned in the inventory of 1800, they would have come into the Giovanelli family\u2019s possession sometime after 1731 and would not be found in both inventories.
"
],
"date": "Until 1800",
"sortorder": 1
},
{
"description": "Baroness Valerie Groedel, Budapest",
"citations": [],
"footnotes": [],
"date": "?",
"sortorder": 2
},
{
"description": "(Neumann Gallery, Vienna)",
"citations": [],
"footnotes": [
"In his 1953 article in Burlington Magazine, \u201cA Signed Drawing by Antonio Guardi and the Problem of the Guardi Brothers,\u201d Antonio Morassi refers to the Cleveland pictures: \u201cfour canvases with scenes from the Old Testament\u2026which twenty years ago I recognized in the Neumann Gallery as works by Guardi and which, after various vicissitudes, have recently been acquired by Cleveland.\u201d If Morassi\u2019s recollection is correct, the paintings would have been with the Neumann Gallery by 1933; this date is consistent with Rodolfo Pallucchini's reference to this \u201crecently discovered\u201d Guardi painting in his L\u2019arte di Giovanni Battista Piazzetta, published in 1934.
"
],
"date": "By 1933?",
"sortorder": 3
},
{
"description": "Francesco Pospisil, Venice, sold through Alessandro Brass to the Cleveland Museum of Art",
"citations": [],
"footnotes": [],
"date": "1952",
"sortorder": 4
},
{
"description": "The Cleveland Museum of Art, Cleveland, Ohio",
"citations": [],
"footnotes": [],
"date": "1952-",
"sortorder": 5
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [
"1952.236"
],
"did_you_know": null,
"early_education_description": null,
"artlens_description": null,
"description": "This series of paintings predominantly tells the Old Testament story of Abraham and Isaac, and each of the canvases treats the interaction of humans and angels. In three works, angels appear to Abraham. However, the narrative of Tobias and the Angel comes from an entirely different book of the Bible. The blind Tobit sends his son Tobias off to collect a sum of money in the distant town of Media, with the angel Raphael accompanying him in disguise as a human. This particular work depicts Raphael overseeing Tobias catching a fish, which would later be used to cure his father's blindness.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q60516019"
],
"internet_archive": []
},
"citations": [
{
"citation": "Binion, Alice. Antonio and Francesco Guardi, Their Life and Milieu: With a Catalogue of Their Figure Drawings. New York: Garland Pub, 1976.",
"page_number": null,
"url": null
},
{
"citation": "Pallucchini, Rodolfo. L'arte di Giovanni Battista Piazzetta. Bologna: Giuseppe Maylender, editore, 1934.",
"page_number": null,
"url": null
},
{
"citation": "Levey, Michael. The Eighteenth-Century Italian Schools. London: Publications Dept., National Gallery, 1956.",
"page_number": null,
"url": null
},
{
"citation": "Morassi, Antonio. Guardi. Antonio e Francesco Guardi. Venezia: Alfieri, 1973.",
"page_number": null,
"url": null
},
{
"citation": "Alessandro Brass, letter to Henry S. Francis, Aug. 15, 1952, in CMA curatorial file",
"page_number": null,
"url": null
},
{
"citation": "Nancy Coe Wixom, letter to Alessandro Bettagno, Oct. 22, 1969, in CMA curatorial file.",
"page_number": null,
"url": null
},
{
"citation": "Alessandro Brass, letter to Henry S. Francis, Aug. 15, 1952, in CMA curatorial file.",
"page_number": null,
"url": null
},
{
"citation": "Antonio Morassi, letter to Neumann, Nov. 24, 1937, in CMA curatorial file.",
"page_number": null,
"url": null
},
{
"citation": "Nancy Coe Wixom, letter to Alessandro Bettagno, Oct. 22, 1969, in CMA curatorial file.",
"page_number": null,
"url": null
},
{
"citation": "Morassi, Antonio, \u201cA Signed Drawing by Antonio Guardi and the Problem of the Guardi Brothers,\u201d Burlington Magazine 95 (August 1953): 267.",
"page_number": null,
"url": null
},
{
"citation": "Morassi, Antonio. Guardi. Antonio e Francesco Guardi. Venezia: Alfieri, 1973.",
"page_number": null,
"url": null
},
{
"citation": "Alessandro Brass, letter to Henry S. Francis, March 29, 1952, in CMA curatorial file.",
"page_number": null,
"url": null
},
{
"citation": "Alessandro Brass, invoice, July 5, 1952, in CMA curatorial file.",
"page_number": null,
"url": null
},
{
"citation": "Morassi, Antonio. Guardi. Antonio e Francesco Guardi. Venezia: Alfieri, 1973.",
"page_number": null,
"url": null
},
{
"citation": "Coe, Nancy. \"Four Paintings by Giovanni Antonio Guardi.\" The Bulletin of the Cleveland Museum of Art 44, no. 9 (November 1957): 198-203.",
"page_number": "Mentioned: p. 198; Reproduced: p. 201",
"url": "https://www.jstor.org/stable/25142240"
},
{
"citation": "Heinemann, Fritz. \"Mostra Dei Guardi : Ausstellung in Venedig, Juni Bis September 1965.\" Kunstchronik / Hrsg. Vom Zentralinstitut Fu\u0308r Kunstgeschichte 18 (1965): 223-246.",
"page_number": "Reproduced: P. 238",
"url": null
},
{
"citation": "The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966.",
"page_number": "Reproduced: p. 146",
"url": "https://archive.org/details/CMAHandbook1966/page/n170"
},
{
"citation": "The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969.",
"page_number": "Reproduced: p. 146",
"url": "https://archive.org/details/CMAHandbook1969/page/n170"
},
{
"citation": "Cleveland Museum of Art. Catalogue of Paintings. Pt. 3. European Paintings of the 16th, 17th, and 18th Centuries. Cleveland: Cleveland Museum of Art, 1974.",
"page_number": "Reproduced: cat. 159B, p. 360 - 363",
"url": ""
},
{
"citation": "The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978.",
"page_number": "Reproduced: p. 143",
"url": "https://archive.org/details/CMAHandbook1978/page/n163"
}
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"creditline": "Mr. and Mrs. William H. Marlatt Fund",
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"gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery",
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