Own workPublic domain · 3,727 × 4,836 px · Wikimedia Commons

1870–1880 · Cleveland Museum of Art

Lazarillo de Tormes and His Blind Master

Augustin Théodule RibotWikidata

painting by Théodule Ribot (French, 1823-1891) (1980.282)

Wander from here
Date
1870–1880 (known to the century)Wikidata
Cleveland Museum of Art: before 1880
Medium
oil on fabricCleveland Museum of Art
Wikidata: Oil paint on canvas
Dimensions
91.5 × 73.7 cmCleveland Museum of Art
Wikidata: 91.5 × 73.7 cm
Collection
Cleveland Museum of Art, ClevelandWikidata
Materials
oil paint, canvasWikidata
Inventory no.
1980.282Wikidata
Credit line
Bequest of Noah L. ButkinCleveland Museum of Art

Provenance

Where it has been

  1. 1897 –
    (E. Oppenheim sale, Hôtel Drouot, May 11, 1897, no. 22, unsold
    high confidenceCleveland Museum of Art
    “(E. Oppenheim sale, Hôtel Drouot, May 11, 1897, no. 22, unsold (1897) [notes: "E. Oppenheim" may refer to Eduard Freiherr von Oppenheim of the German banking family.  Eduard’s brother Albert von Oppenheim was an avid art collector, whereas Eduard was chiefly interested in horse-breeding and horseracing.  He did own works of art, but the archives of the Bankhaus Sal. Oppenheim contain no inventory or correspondence indicating that the Ribot was owned by Eduard or that his collection was sold in 1897 at Hôtel Drouot (Gabriele Teichmann, email to Victoria Sears Goldman, Jan. 5, 2016).  According to Hôtel Drouot's annotated copy of the 1897 sale catalogue , the painting failed to sell.  In the catalogue, as well as those of the 1918 and 1973 auctions, the CMA painting is titled “L'aveugle et don Guzman d'Alfarache.”  After Ribot’s death, the painting acquired this title (“The Blind Man and Don Guzman d’Alfaranche”), a reference to Mateo Alemán’s novel Guzman de Alfarache (1599).  The subject of the painting, however, clearly derives from a passage in the earlier novel Lazarillo de Tormes (1554).  The discrepancy between title and subject likely stems from the moralizing plot and happier ending of Guzman d’Alfarache, which was apparently more agreeable and memorable to a wider audience.]”
  2. 1911 –
    (Possibly Bernheim-Jeune, Paris)
    high confidenceCleveland Museum of Art
    “(Possibly Bernheim-Jeune, Paris) (1911) [notes: A 1911 exhibition of works by Ribot at Bernheim-June includes a painting titled L’Aveugle for which no dimensions or descriptions are provided.  The absence of a Bernheim-Jeune stock number on the back of the painting, frame, or stretcher make it difficult to confirm whether or not the CMA picture was the one in the Bernheim-Jeune catalogue.  ]”
  3. 1918 –
    (Sale, Galerie Georges Petit, Paris, December 4-5, 1918, no. 8)
    high confidenceCleveland Museum of Art
    “(Sale, Galerie Georges Petit, Paris, December 4-5, 1918, no. 8) (1918)”
  4. 1973 –
    (Hôtel Drouot, Nov. 7, 1973 [no lot number, reproduced on page 3], sold to Peter Wengraf on behalf of Noah L. and Muriel S. Butkin)
    high confidenceCleveland Museum of Art
    “(Hôtel Drouot, Nov. 7, 1973 [no lot number, reproduced on page 3], sold to Peter Wengraf on behalf of Noah L. and Muriel S. Butkin) (1973)”
  5. 1973 – 1980
    Noah L. [1918-1980] and Muriel S. Butkin [1915-2008], Cleveland, OH, bequeathed to the Cleveland Museum of Art as a result of disclaimer by Muriel S. Butkin
    purchase
    high confidenceCleveland Museum of Art
    “Noah L. [1918-1980] and Muriel S. Butkin [1915-2008], Cleveland, OH, bequeathed to the Cleveland Museum of Art as a result of disclaimer by Muriel S. Butkin (1973-1980)”
  6. 1980 –
    The Cleveland Museum of Art, Cleveland, OH
    bequest
    high confidenceCleveland Museum of Art
    “The Cleveland Museum of Art, Cleveland, OH (1980-)”
Identifiers & sources+