This work is traditionally considered a portrait of Lucrezia Borgia, the scandal-ridden daughter of Pope Alexander VI. In fact, it shows an unknown lady in the guise of Flora, the classical goddess of spring. Hence the bunch of flowers in her right hand, and especially the fanciful costume with the turban and wig. The exposed breast would have been unthinkable in a portrait of a respectable woman, married or not. Educated courtesans, however – who enjoyed particularly great popularity in Venice and Rome – often had themselves portrayed in the role of Flora.
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:
The successive ownership records are separated from each other by a semicolon.
Gaps in the record of a provenance are indicated by the placeholder “…”. Unsupported information is listed in square brackets.
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