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The Birmingham Museum of art makes available digital images of works in the Museum’s collection believed to be in the public domain. Images are available free of charge for any use, commercial or non-commercial. Users do not need to contact the Museum for authorization to use these images. They are available through the Online Collection at artsbma.org/collection. See detailed instructions for specific work types below.
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- Titles Saint Mark the Evangelist (Proper)
- Artist Attributed to, Jan Lievensz, Netherlands, 1607 - 1674
- Medium oil on canvas
- Dimensions 49 7/16 x 59 1/2 in. (125.6 x 151.1 cm) frame: 59 3/4 × 69 3/4 × 3 1/4 in. (151.8 × 177.2 × 8.3 cm)
- Credit Line Bequest of Mrs. A. L. Fulenwider in memory of her sons, Howard M. and Leslie Fulenwider, 1954.1
- Work Type painting
- Classification Paintings
- Signature Unsigned
- Marks None
- Inscription Verso, upper stretcher bar, upper left, brown marker: B.M.A. 54.1 Verso, upper stretcher bar, center right, graphite: 61" Verso, upper stretcher bar, upper right, graphite: 8 [circled] Verso, upper stretcher bar, upper right, graphite: 415 / END Verso, horizontal strainer, far right, graphite: CUT THIS / END Verso, vertical strainer, graphite: W 61 19 M [illegible]
- Provenance Possibly Right Honorable Florence Anita, Countess of Northbrook, C.B.E., Bramdean, Hants [see note 1]. Possibly Christopher Norris Esq. Polesden Lacey, Dorking, Surrey, England [see note 2]. E. and A. Silberman Galleries; purchased by the Birmingham Museum of Art, Alabama, 1954
1. The only source for this information is what appears to be the the factsheet provided by E. and A. Silberman Galleries; see object file.
2. Richard F. Howard, the BMA's director at the time, wrote to Norris on Nov. 24, 1953 that he learned that 1951.1 came from Norris' collection. Howard wonders if Norris might be able to give him any further information on the picture. Norris replies on Nov. 28, 1953, saying he disposed of some of his collection ("zweite Garnitur"), but does not "remember one that could be re-baptised" that way. Howard then sends a very rough sketch on Dec. 3, 1953. Further communication from this exchange does not exist. On June 6, 1955, Howard wrote another letter to Norris asking him what attribution the painting had when it was in Norris' collection. No response exists; see object file.