Related external works: Part of the same work group

Paolo Veronese: La buona fortuna / Das gute Glück. Sammlung Dencker-Winkler, San Jose (CA)

Benedetto Caliari: La Fortune Maritime / Vittoria per mari / Sieg zu Meere, Feder in Braun über schwarzem Stift, braun laviert, weiß gehöht, auf blauem Papier, 300 x 210 mm. Inv. Nr. RF 41300, Musée du Louvre, Département des Arts graphiques, Cabinet des dessins, Paris

Benedetto Caliari: La Fortune terrestre / Vittoria per terra / Sieg zu Lande, Feder in Braun über schwarzem Stift, braun laviert, weiß gehöht, auf blauem Papier, 300 x 200 mm. Inv. Nr. RF 41301, Musée du Louvre, Département des Arts graphiques, Cabinet des dessins, Paris

Paolo Veronese: Femme debout, un étendard dans la main gauche: la Victoire / Vittoria / Sieg, Feder in Braun, grau laviert, weiß gehöht, auf grün grundiertem Papier, 282 x 212 mm. Inv. Nr. 4682, Musée du Louvre, Département des Arts graphiques, Cabinet des dessins, Paris

Paolo Veronese: La Tempérance triomphant du Vice, Feder in Braun, grau laviert, weiß gehöht, auf grau laviertem Papier, 365 x 270 mm. Inv. Nr. RF 600, Musée du Louvre, Département des Arts graphiques, Cabinet des dessins, Paris

Paolo Veronese: Allegorische Frauenfigur, ca. 1555-1565, Feder in Braun, braun laviert, weiß gehöht, auf blau getöntem Papier, 386 x 276 mm. Inv. Nr. 1636, Albertina, Grafische Sammlung, Wien

Benedetto Caliari: Allégorie de la Richesse / Ricchezza / Reichtum, Feder in Braun, braun laviert, weiß gehöht, auf blauem Papier, 300 x 200 mm. Inv. Nr. RF 41299, Musée du Louvre, Département des Arts graphiques, Cabinet des dessins, Paris

Paolo Veronese: Der Triumph der guten Fama über das Böse, ca. 1555-1565 oder ca. 1582, Schwarzer Stift (Kreide oder Kohle), Feder in Schwarzbraun, grau laviert, weiß gehöht, auf blaugrau grundiertem Papier, 273 x 198 mm. Inv. Nr. 1640, Albertina, Grafische Sammlung, Wien

Paolo Veronese: Allegorisk kvinna bärande spira och klot / Splendore dell'Imperio / Glanz der Herrschaft, Feder in Braun, braun laviert, weiß gehöht, auf blauem Papier, 278 x 202 mm. Inv. Nr. NMH 56/1992, Nationalmuseum, Stockholm

Allegory of "Benifico", ca. 1550 – 1560

Blatt: 276 x 202 mm

Physical Description: Brush in grey-brown, highlighted with white, traces of blue colour on the pedestal and the left hand, framing line in black on all sides, on laid paper primed in green

Inventory Number: 457

Object Number: 457 Z

Status: Can be presented in the study room of the Graphische Sammlung (special opening hours)

Texts

About the Work

According to an original inscription on the back, this drawing is an allegory of charity. It belongs to a cycle of drawings of female allegories, a particularly popular motif for the decoration of Venetian villa interiors. Usually incorporated in a moral-theological pictorial programme, they were intended as an appeal to virtuous conduct in the Christian sense. In view of this work’s manner of execution, however, it can hardly have served as a mere preliminary study. Rather, brush drawings of this kind were collected by the educated nobility as independent artworks and bound into books to serve as a basis for scholarly discussion.

Work Data

Basic Information

Title: Allegory of "Benifico"

Draughtsman

Paolo Veronese

Period Produced

16th century

School

Late Renaissance

Object Type

drawing

Physical Description: Brush in grey-brown, highlighted with white, traces of blue colour on the pedestal and the left hand, framing line in black on all sides, on laid paper primed in green

Material

Technique

Geographic Reference

Venetian

Production Reason

Label at the Time of Manufacture: Verso bezeichnet mittig (mit der Feder in Braun): Il Beneffitio una Donna vestita riccame[n]te et coronato da Re; et porga co[n] / le mani corone; et scetri

Captions Added Later: Bezeichnet unten links (mit der Feder in Braun): P.Veronese.; darunter (mit Bleistift): 55 12; darunter (mit der Feder in Dunkelbraun): N° 1107.; unten rechts (mit Bleistift): ex col. Peter Lely.
Unten rechts Stempel der Sammlung Peter Lely, London (Lugt 2092); verso unten links Stempel des Städelschen Kunstinstituts, Frankfurt am Main (Lugt 2356)

Watermark

Nicht vorhanden

Work Catalogues

Cocke 1984.72.17
Tietze/Tietze-Conrat 1944.343.2066

Property and Acquisition

Institution

Städel Museum

Departement

Department of Prints and Drawings

Collection

Städelsches Kunstinstitut

Creditline: Städel Museum, Frankfurt am Main

Picture Copyright: Public Domain

Work Content

Motifs and References

Genre

allegory

Main Motif

Associated Persons and Institutions

Iconclass

Primary

57A7(+113) Benevolence, Beneficence; 'Beneficio', 'Benevolenza o Affettione' (Ripa) (+ clothed)
31AA231(+1) standing figure - AA - female human figure (+ front view)
31AA2512 arm stretched forward - AA - both arms or hands

Secondary

31A2311 'contrapposto', 'Standbein und Spielbein'
44B191 crown (symbol of sovereignty)
44B192 sceptre, staff (symbol of sovereignty)
11P31131 insignia of bishop, e.g. mitre, crozier
48C161 column, pillar ~ architecture

Research and Discussion

Research

Alternative Attribution

Parrasio Micheli draughtsman; by note on mount

Provenance

Object History: …

Sir Peter Lely (1618–1680), London

Johann Friedrich Städel (1728–1816), Frankfurt am Main

Nachlass Johann Friedrich Städel, 1816.

Information

Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.

The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.

Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known: