Samson

Provenance

Where it has been

1. 1972 – present
   The Cleveland Museum of Art, Cleveland, Ohio
   high confidenceCleveland Museum of Art

   “The Cleveland Museum of Art, Cleveland, Ohio (1972–present)”

2. probably 1921 – 1947
   Edoardo Almagià [b. 1928], Rome, sold to the Cleveland Museum of Art
   high confidenceCleveland Museum of Art

   “Edoardo Almagià [b. 1928], Rome, sold to the Cleveland Museum of Art (probably 1921–1947)”

3. probably 1921 – 1947
   Probably Roberto Almagià [1883-1947], by descent to his son, Edoardo Almagià.
   purchase
   high confidenceCleveland Museum of Art

   “Probably Roberto Almagià [1883-1947], by descent to his son, Edoardo Almagià. (probably 1921–1947) [notes: There is no evidence that Roberto Almagià owned this painting, other than the likelihood that he inherited the painting from his father before it passed to his own son, Edoardo, who would later sell it to the Cleveland Museum of Art.]”

4. c. 1899 – 1921
   Ing. Dr. Edoardo Almagià [b. 1841], Rome, by descent to his son Roberto Almagià, or grandson, Edoardo Almagià.
   inheritance
   high confidenceCleveland Museum of Art

   “Ing. Dr. Edoardo Almagià [b. 1841], Rome, by descent to his son Roberto Almagià, or grandson, Edoardo Almagià. (c. 1899–1921) [notes: Almagià, a prominent engineer, appears to have acquired many of the Sciarra paintings prior to the 1899 sale, most likely in lieu of payments against outstanding debts, but seven of the Almagià paintings did come from the sale, including the Cleveland picture.   A manuscript catalogue of Almagià’s collection attributes to the painting (No. 15) to Caroselli.   ]”

5. 1899 –
   (Galleria Sangiorgi, Rome, Sciarra sale, March 28, 1899, fifth sale, no. 363, sold to Edoardo Almagià).
   inheritance
   high confidenceCleveland Museum of Art

   “(Galleria Sangiorgi, Rome, Sciarra sale, March 28, 1899, fifth sale, no. 363, sold to Edoardo Almagià). (1899) [notes: The painting is attributed to Caroselli in the sale catalogue.  ]”

6. 1812 – 1899
   Colonna di Sciarra family, Rome.
   purchase
   high confidenceCleveland Museum of Art

   “Colonna di Sciarra family, Rome. (1812–1899) [notes: In 1728, Cornelia Barberini, the family heiress, married Giulio Cesare Colonna di Sciarra, and from that point on, the family was known as Barberini-Colonna, or Colonna di Sciarra.  In 1812, after complicated litigation, the property of the Barberini family was divided between the Barberini and Sciarra branches of the family, and the Valentin entered the Colonna di Sciarra collection in Rome.  Eventually, the painting ended up in the possession of Maffeo Barberini Colonna di Sciarra, who in 1891-1892 sold part of his collection illegally for export.  He was heavily fined and sentenced to three months in jail.  The decision was appealed, but his activities led to the financial ruin of the family.  In 1897, Sciarra owed nearly two million lire to four parties, including Ing.  Dr. Edoardo Almagià.  126 paintings were to be accepted as payment against Sciarra’s debts; however, for unknown reasons, the contract was never signed, and instead, 133 pictures were sold at auction at Galleria Sangiorgi in March 1899.  ]”

7. 1631 – 1812
   Cardinals Francesco [1597–1679] and Antonio Barberini [1607–1671], by inheritance within the Barberini family, Rome.
   inheritance
   high confidenceCleveland Museum of Art

   “Cardinals Francesco [1597–1679] and Antonio Barberini [1607–1671], by inheritance within the Barberini family, Rome. (1631–1812) [notes: This painting was commissioned by Cardinal Francesco Barberini in December 1630: “A Valentino Pittore sc. 5 m.ta mettere in ord.e la Tela, e colori da far Un Sansone p S. Em.za –5 [III. MC. 26-31 136v.].  In July 1631, 25 scudi were paid to Valentin: “A Valentino Pittore per resto dell Quadro del Sansone a 25 sc.—18” [III. Gius. 1501-1750. 1508] (see Doc. 345 in Marilyn Lavin’s “Barberini Inventories,” 1975).  One month later, the painting was incorrectly inventoried as by Poussin [III.inv. 26-31 and III.Barb.Lat. 5635; no. 482].  In 1633 the painting was inventoried, together with Valentin’s David with the Head of Goliath, as in the collection of Cardinal Antonio Barberini, Francesco’s younger brother, and in 1649, the painting was apparently again in the collection of Francesco [III.inv. 49; no. 676], as Valentin.  The painting was incorrectly inventoried again, this time as by Andrea Camassei, in 1738 [Arch. Barb. Ind. II, cred. VI, cas. 70, Maz. LXXXIX, Lett. I, no. 32].  ]”