Provenance: Works
of Art in the Putnam Foundation Collection
Italian and Spanish Paintings | Dutch and Flemish Paintings | French Tapestries and Paintings | American Paintings | Russian Icons
ITALIAN AND SPANISH PAINTINGS
Giovanni
Antonio Boltraffio (Italian,
14671516)
Portrait
of a Youth Holding an Arrow, ca. 15001510
Oil on panel
19 5/8 x 14
in. (49.7 x 35.4 cm)
1964:001
PROVENANCE
The marquis
de Gallo
Purchased in
Paris by the seventh earl of Elgin, 1806
Earls of
Elgin and Kincardine
Acquired by
the Putnam Foundation, 1964
Luca
Carlevarijs (Italian,
16631730)
The
Piazzetta at Venice,
n. d.
Oil on canvas
38 x 76 7/8
in. (96.5 x 195.3 cm)
1979:004
PROVENANCE
Arturo
Grassi, New York, 1948
Sabatello,
Rome
Bruschi,
Florence
Paul Drey, New
York
Acquired by
the Putnam Foundation, 1979
Giovanni
Francesco Barbieri (Il Guercino) (Italian, 15911666)
The Return
of the Prodigal Son,
165455
Oil on canvas
61 1/4 x 57
1/2 in. (155.6 x 146.1 cm)
1983:002
PROVENANCE
Archbishop
Girolamo Boncompagni
The princes
Colonna
The marquis
of Landsdowne, his sale, Christies, London, March 7, 1930, lot 443
Private
collection
Matthiesen
Fine Art, London, 1981
Acquired by
the Putnam Foundation, 1983
Luca di
Tomm (Italian,
unknownafter 1390)
The
Trinity and the Crucifixion, with Scenes from the Life of Christ, ca. 1355
The
Resurrection, the Annunciation, the Nativity, the Adoration of the Magi, the
Mocking of Christ, the Lamentation
Triptych,
tempera on panel
Center panel,
22 1/4 x 10 3/8 in. (56.5 x 26.4 cm) overall, 20 x 9 in. (50.8 x 22.8 cm)
picture surface; left wing, 22 1/8 x 5 1/4 in. (56.2 x 13.3 cm) overall, 18 1/8
x 3 7/8 in. (46 x 9.8 cm) picture surface; right wing, 22 1/2 x 5 1/8 in. (57.2
x 13 cm) overall, 18 3/4 x 3 3/4 in. (47.6 x 9.5 cm) picture surface
1967:003
PROVENANCE
Duveen
T. S. Hyland,
Greenwich, Connecticut
Acquired by
the Putnam Foundation, 1967
The
Magdalene Master and an Unknown Florentine Painter (Italian, end 13thearly 14th
century)
Madonna
and Child and Two Angels, with Twelve Scenes from the Passion, ca. 1310
The Last
Supper, the Arrest in the Garden, the Flagellation, the Mocking of Christ, the
Via Crucis, the Disrobing of Christ, Christ Mounting the Cross, the
Crucifixion, the Deposition, the Entombment, the Three Marys at the Tomb, Noli
me tangere
Tempera on
panel
26 1/2 x 70 5/8 in. (67.3 x 179.4 cm) overall, 24 x 67 3/4 in. (61 x 172.1 cm) picture surface
1967:001
PROVENANCE
Santa Maria
dei Candeli, Florence (?)
Mr. F., 1930
(per Richter 1930)
Piero Tozzi,
New York (per Garrison 1946)
Jacob Hirsch,
New York, by 1946
T. S. Hyland,
Greenwich, Connecticut
Acquired by
the Putnam Foundation, 1967
Bartolom
Esteban Murillo
(Spanish, 16171682)
Christ on
the Cross, 166070
Oil on canvas
82 1/4 x 44
1/2 in. (208.9 x 113 cm)
1955:004
PROVENANCE
Kaunitz
collection, Vienna, 1820
Purchased at
auction March 13, 1820 [1] by Count Johann Rudolf Czernin (17571845), until
1845
By descent to
Count Franz Czernin (d. 1932), Czernin collection, Vienna, until 1932
By descent to
Count Eugen Czernin von Chudenitz (18921955), until 1955 [2]
Acquired by
the Putnam Foundation, 1955 [3]
PROVENANCE NOTES
[1] Probable
date of sale
[2] According to the Art Loss Register, the collection of Count Jaromir Czernin, Vienna, was subject to looting by the Nazi regime. While this might be the case, Jaromir had dealt extensively with Nazi authoritieseventually selling Vermeers The Art of Painting to Hitlerand his claims for restitution have been often discredited. The Timkens Murillo, however, belonged not to Count Jaromir, but rather to his uncle, Eugen Czernin von Chudenitz (also a count), who apparently made no claims of wartime looting. The painting was exhibited as part of the Czernin collection, with the permission of Count Eugen, in 1951 (Sion [Valais], Switzerland, Muse de la Majorie, 1951, La Collection Czernin de Vienne, no. 27, with cat. entries after Wilczek, 1936). This clearly establishes continuity of legitimate ownership through the Nazi era.
[3] An undated
note in the Timken file suggests that Wildenstein handled the transaction.
Niccol di
Buonaccorso (Italian,
unknown1388)
The
Madonna of Humility, with St. Catherine of Alexandria, St. Christopher, the
Annunciation, and the Crucifixion, ca. 137075
Triptych,
tempera on panel
Center panel,
25 3/4 x 10 3/8 in. (65.4 x 26.4 cm) overall, 19 1/2 x 8 1/2 in. (49.5 x 21.6
cm) picture surface; left wing, 23 3/4 x 5 1/4 in. (60.3 x 13.3 cm) overall, 19
x 4 in. (48.2 x 10.2 cm) picture surface; right wing, 23 1/8 x 5 3/8 in. (58.7
x 13.7 cm) overall, 19 x 4 in. (48.2 x 10.2 cm) picture surface
1967:002
PROVENANCE
Frederick
Mont, New York (as Paolo di Giovanni Fei)
T. S. Hyland,
Greenwich, Connecticut
Acquired by
the Putnam Foundation, 1967
Niccol di
Buonaccorso (Italian,
unknown1388)
Madonna and Child, 1387
Tempera and gold on wood
60 x 23 in. (152.5 x 58.5
cm)
1998:001
PROVENANCE
Santa Margherita a
Costalpino, Siena [1]
Galerie Fisher, Lucerne,
November 2428, 1953, lot 1877 (as Bartolo di Fredi) [2]
Heinz Kisters,
Kreuzlingen
Acquired by the Putnam
Foundation, 1998
PROVENANCE NOTES
[1]
The importance of this impressive, exceptionally well-preserved work was first
recognized by Mikls Boskovits in 1980 (Mikls Boskovits, Su Niccol di Buonaccorso,
Benedetto di Bindo, e la pittura senese del primo Quattrocento, Paragone, nos. 35961 (1980): 45, 15 n.
5), when he identified it as the missing central panel of a signed and dated
altarpiece by Niccol di Buonaccorso, formerly located in the parish church of
Santa Margherita a Costalpino, on the outskirts of Siena. The existence of this
altarpiece had been first recorded in the early nineteenth century by the
Sienese historian Ettore Romagnoli, who wrote that in 1822 he had discovered in
the church of Santa Margherita three panels from a dismembered triptych,
showing, respectively, the Madonna and Child, St. Margaret and the Dragon, and
an unrecognizable, badly damaged male saint.
[2] The present panel
appeared on the art market in 1953, without a signature or date, and a
tentative attribution to Niccols older contemporary Bartolo di Fredi. This
identification remained unquestioned for thirty years, while the painting
remained in the collection of Heinz Kisters, in Kreuzlingen, Switzerland. Boskovits
was the first author to point out, aptly, the close stylistic relation of the Madonna
and Child to the Costalpino St.
Lawrencerestored to its original appearance between 1943 and 1946 and
subsequently catalogued as a work of Niccol by Bernard Berensonleaving no
grounds for doubt that the two images were executed by the same hand, and that
they were originally included in the same complex.
Giovanni
Girolamo Savoldo
(Italian, act. 1508after 1548)
Torment of
St. Anthony,
151520(?)
Oil on panel
27 3/8 x 47 in. (69.5 x 119.4 cm)
1965:002
PROVENANCE
Dr. William
Dean, England, his sale, Sothebys, London, April 27, 1960, lot 91
Acquired by
the Putnam Foundation, 1965
Bartolomeo Veneto (Italian, died 1531)
Portrait of a Lady in
a Green Dress, 1530
33 7/8 x 26 5/8 in. (85.9
x 67.6 cm)
Signed and dated on the cartellino at upper left: 1530 / Bartolo / mei / veniti /
.f.
1979:003
PROVENANCE
Manfrin collection,
Venice
Mr. Barker (according to
Crowe and Cavalcaselle 1912)
Fifth earl of Rosebery,
Mentmore Towers, by 1884, his sale, Sothebys, Mentmore Towers, May 2526,
1977, lot 2407
Acquired by
the Putnam Foundation, 1979
Anonymous (Italian, act. first quarter 17th
century)
Still Life, n. d.
Oil on canvas
25 7/8 x 19
in. (65.7 x 48.3 cm)
1971:002
PROVENANCE
Frederick
Mont, New York
Acquired by
the Putnam Foundation, 1971
Paolo
Caliari (Veronese)
(Italian, 15281588)
Madonna
and Child with St. Elizabeth, the Infant St. John the Baptist, and St. Justina, 156570
Oil on canvas
40 7/8 x 62
1/4 in. (103.8 x 158.1 cm)
1956:001
PROVENANCE
Possibly
mentioned by Ridolfi as in the possession of the heirs of Veronese
According to
Cicogna (182453), the work belonged to Abbott Celotti
Bondon,
Paris, until 1831, his sale, Paris, June 8, 1831 (Lugt 12689), no. 10
Quantock
Norman Clark
Neill, Cowes, as of 1925
Mrs. H. F.
Buxton, London
Acquired by
the Putnam Foundation, 1956