Workshop of Velázquez (Spanish, Seville 1599–1660 Madrid)
Oil on canvas
32 1/4 x 39 1/2 in. (81.9 x 100.3 cm)
Marquand Collection, Gift of Henry G. Marquand, 1889
Not on view
Duncan [probably James Duncan, London]; [Martin Colnaghi, London]; Henry G. Marquand, New York (by 1889)
New York. The Metropolitan Museum of Art. "Exhibition of 1888–89," 1888–89, no. 20 (as "The Infanta, of Spain," by Velázquez).
Louisville. J. B. Speed Art Museum. "Old Masters from the Metropolitan," December 1, 1948–January 23, 1949, no catalogue.
Madison. Memorial Union Gallery, University of Wisconsin. "Old Masters from the Metropolitan," February 15–March 30, 1949, unnumbered cat.
Colorado Springs Fine Arts Center. "Old Masters from the Metropolitan," April 24–June 30, 1949, no catalogue.
Palm Beach. Society of the Four Arts. "European Masters of the XVII and XVIII Centuries," January 13–February 5, 1950, no. 23.
Lexington, Va. Washington and Lee University. "The Metropolitan Museum of Art Loan Exhibit," October 30, 1950–January 15, 1951, no. 12.
Athens, Ga. Georgia Museum of Art, University of Georgia. February 15–April 5, 1951, no catalogue?
Palm Beach. Society of the Four Arts. "Spanish Painting," January 11–February 6, 1952, no. 47.
Milwaukee Art Institute. "5 Centuries of Spanish Art," September 5–October 25, 1952, no. 22.
Syracuse, N.Y. Syracuse University. "Spanish Art: Fifteenth Century to Modern," November 10–December 1, 1952, no. 6.
Scottsdale. Arizona Art Association. "Paintings from the Collection of The Metropolitan Museum of Art," February 22–March 21, 1954, no catalogue.
New Paltz, N.Y. State Teachers College. April 19–24, 1954, no catalogue?
London. McIntosh Memorial Gallery, University of Western Ontario. February 19–March 20, 1955, no catalogue.
Dallas Museum of Fine Arts. "Six Centuries of Headdress," April 3–May 1, 1955, no. 9.
Winnipeg Art Gallery. "Spanish Painting," April 9–May 7, 1955, no catalogue.
Westport, Conn. Westport Community Art Association. "Spanish Painting," November 5–18, 1955, no catalogue.
Little Rock. Arkansas Arts Center. "Five Centuries of European Painting," May 16–October 26, 1963, unnumbered cat. (p. 20).
Wilkes-Barre, Pa. Miners National Bank. "Loan Exhibition from The Metropolitan Museum of Art," December 1–15, 1964, no. 12.
The Metropolitan Museum of Art, Hand-Book No. 6. New York, 1894, p. 78, no. 294, lists it as Queen Mariana of Austria by Velázquez; provenance given as "Formerly in the Duncan collection. Purchased through Martin Colnaghi, London.".
Catalogue of the Paintings in the Metropolitan Museum of Art. New York, 1905, p. 177, no. 255, attributes it to Velázquez.
François Monod and Lewis Einstein. "Le Musée de la Société Historique de New-York, part 2." Gazette des beaux-arts, 3rd ser., 36 (September 1906), p. 246, mentions it as one of many mediocre copies of two portraits of Mariana by Velázquez in the Prado (inv. nos. 1078 and 1079).
Catalogue of the Paintings in The Metropolitan Museum of Art. New York, 1911, p. 177, no. 255.
Bryson Burroughs. Catalogue of Paintings. 1st ed. New York, 1914, p. 270, attributes it to the "School of Velázquez".
Walter Gensel. Velazquez: Des Meisters Gemälde. Ed. Valerian von Loga. 3rd ed. Stuttgart, 1914, ill. p. 191, includes it among works by Velázquez.
Walter Gensel. Velazquez: Des Meisters Gemälde. Ed. Juan Allende-Salazar. Stuttgart, , ill. p. 212, includes it among workshop repetitions and copies after Velázquez, incorrectly describing it as from the Altman Collection.
August L. Mayer. Velazquez: A Catalogue Raisonné of the Pictures and Drawings. London, 1936, p. 116, no. 492, pl. 173, calls it a fragment from a full-length studio copy of the original portrait in the Prado which he dates 1652 on the basis of the February 23, 1653 delivery date for the Vienna copy.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 241–42, ill., ascribes it to the workshop of Velázquez, noting that it is based on the full-length portrait in the Prado; incorrectly cites Richard Ford in the provenance [see Notes].
Bernardino de Pantorba. La vida y la obra de Velázquez: Estudio biográfico y crítico. Madrid, 1955, p. 191, attributes it to Velázquez's workshop, noting that it is a fragment of a copy after Velázquez's original in the Prado; incorrectly cites Richard Ford in the provenance.
José López-Rey. Velázquez: A Catalogue Raisonné of His Oeuvre. London, 1963, p. 243, no. 360, pl. 329, calls it a workshop copy; incorrectly cites Richard Ford in the provenance.
José Camón Aznar. Velázquez. Madrid, 1964, vol. 2, ill. p. 805, attributes the picture to Velázquez's workshop.
P.M. Bardi. L'opera completa di Velázquez. Milan, 1969, p. 108, no. 118D, ill.
Julián Gállego inVelázquez. Exh. cat., Museo Nacional del Prado. Madrid, 1990, p. 417.
Jonathan Brown inVelázquez, Rubens y Van Dyck: Pintores cortesanos del siglo XVII. Ed. Jonathan Brown. Exh. cat., Museo Nacional del Prado. Madrid, , pp. 140, 142.
Maribel Bandrés Oto. La moda en la pintura: Velázquez usos y costumbres del siglo XVII. Pamplona, 2002, p. 316.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 12, 14, fig. 10 (print of Marquand gallery).
Andrew Watson. "James Duncan of Benmore: A Remarkable Victorian Collector." Journal of the Scottish Society for Art History 14 (2009–10), pp. 45, 50 n. 60, fig. 7.
Andrew M. Watson. James Duncan: An Enlightened Victorian. Edinburgh, 2010, pp. 60, 80, ill.
Mariana of Austria became the second wife of Philip IV in 1649 after the death of his son Baltasar to whom she had been affianced. This portrait is one of several copies after the full-length painting of the Queen by Velázquez in the Prado in Madrid (no. 1191), which was executed before 1653.
The original painting can be dated to before December 15, 1652, when Philip IV ordered the shipment of a copy (the version in Vienna) to Ferdinand III [see Morán, Miguel and Karl Rudolf, "Nuevos documentos en torno a Velázquez y a las colleciones reales." Archivo español de arte, 65 (July–December 1992), pp. 291–92, 301].
The portrait of Mariana listed in the collection of Richard Ford by G. F. Waagen (Art Treasures in Great Britain, 1854, 2, p. 223) and incorrectly identified by Wehle (1940) as the MMA picture, is now in the Ringling Museum of Art, Sarasota, attributed to the School of Diego Velázquez.