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
FRENCH TAPESTRIES AND PAINTINGS
Four Entrefentre
Tapestries from the
Series Stories of Queen Artemisia
Central
designs by Antoine Caron (French, 15211599), France, ca. 156265
Border
designs probably by Henry Lerambert (ca. 1540/501608)
Cartoons by
various artists, France, ca. 16001617
Woven by
various masters in the Faubourg Saint-Marcel manufactory of Marc de Comans
(Flemish, 15631644) and Franois de la Planche (Flemish, 15731627), Paris,
ca. 1620
Slit tapestry
woven on low-warp looms; warp: undyed wool threads, ca. 20 per inch; weft: dyed
wool and silk threads and silver and silver-gilt metalllic threads, ca. 3345
per inch
A. The
Requests of the Citizens (Les Requtes du peuple)
185 x 64 in.
(469.9 x 162.6 cm)
1964:003A
B. The
Petitions (Les Placets)
186 x 94 in.
(472.4 x 238.8 cm)
1964:003B
C. The
Queen Distributing the Booty (La Reine distribue le butin)
183 x 93 in. (464.8 x 236.2 cm)
1964:003C
D. A
Group of Soldiers
186 x 94 in. (472.4 x 238.8 cm)
1964:003D
PROVENANCE
Duke Charles
Emmanuel I of Savoy, 1620 [1]
Christina of
France, duchess of Savoy (d. 1663) [2]
House of
Savoy
Archduke
Leopold Salvator of Austria, until ca. 1924
P. W. French
and Company, New York, by 1931
Acquired by
the Putnam Foundation, 1964
PROVENANCE NOTES
[1] The eighteen or more
tapestries of the Artemesia series,
woven in Paris sometime between 1611 and about 1620, originally decorated the
palace of Duke Charles Emmanuel I of Savoy (15621630) in Turin, Italy, and the
remnants of at least sixteen of them are still identifiable. The Savoy
ambassador in Paris, Augusto Manfredo Scaglia di Verua bought the pieces
directly. Ten were sent to Turin immediately; presumably the remaining pieces
followed as they were finished. So that the tapestries would conform to the
Turin palace more precisely, the ambassador had included in the order at least
eight entrefentresnarrow
pieces without side borders, designed to fit between windows and in other small
spaceswith the dukes arms added at the top. Among these were the four Timken
tapestries.
[2] The 1664 inventory of
Christina, duchess of Savoy, counted eighteen pieces. Similar to tapestries
used at the French court, they had been given to Christina of France to
celebrate her marriage to Charles Emmanuels son, Victor Amadeus. Besides the
four Timken pieces, others are in Palazzo Chiablese, Turin (6); Museo Civico,
Turin (2); Palazzo Reale, Turin (1); church of Saint Georges-sur-Cher,
deposited at the chteau de Blois (1); Museo Nacional de Bellas Artes, Buenos
Aires (1), and in private collections (2).
Franois Boucher (French, 17031770)
Lovers in
a Park, 1758
Oil on canvas
91 1/2 x 76
3/4 in. (232.4 x 194.9 cm)
Signed and
dated lower right: F. Boucher / 1758 (FB in monogram)
1965:003
PROVENANCE
Baron Meyer
Amschel de Rothschild, Mentmore Park, 1851 [1]
The earl of Rosebery, Mentmore Park, Bedfordshire, England, his sale, Sothebys, London, March 11, 1964, lot 53
Thomas Agnew
& Sons, London
Acquired by
the Putnam Foundation, 1965
PROVENANCE NOTES
[1] Nothing
is known of this painting before the mid-nineteenth century, when it was
installed in the White Drawing Room at Mentmore Park. It was grouped with three
other Bouchers now in the National Gallery of Scotland, which in the eighteenth
century had belonged to the Marchal de Sainscy. The Timken picture was not
listed in the sale of Sainscys collection in 1789; thus its early provenance
still awaits discovery. In the Mentmore catalogue (Mentmore [Edinburgh, 1883],
p. 62), Lovers in a Park is listed simply as Pastoral scene.
Philippe
de Champaigne
(French, 16021674)
Christ
Healing the Blind,
ca. 165560
Oil on canvas
40 1/4 x 55 7/8 in. (102.2 x 141.9 cm)
1967:004
PROVENANCE
Studio of
Philippe de Champaigne
Inherited by
his nephew Jean-Baptiste de Champaigne
Mme Gentil de
Chavagnac, her sale, Paris, Galerie Labrun, June 20, 1854, pp. 3739
The dukes of
Ferrari de Galliera, near Dijon
Inherited by
a niece of the last duke, Mlle de la Renotire
Acquired by
the Putnam Foundation, 1967
Claude
Lorrain (French
16001682)
Pastoral
Landscape, 164647
Oil on canvas
40 3/8 x 52
1/4 in. (102.4 x 132.7 cm)
1969:002
PROVENANCE
During the
last two centuries the picture changed hands fairly frequently, but precise
details of the facts of ownership have not yet come to light in all cases. The
available evidence is as follows:
Probably de
Merval, his sale, Paris, May 9, 1768, lot 100
Sir Joshua
Reynolds, by 1775, his sale, Christies, London, March 17, 1795, lot 84,
according to Caracciolo and Earlom [1]
Noel
Desenfans, his sale, March 18, 1802, according to Smith [2]
Lord
Carrington, by 1842
The Reverend
J. Staniforth, by 1857, according to Waagen 1857 [3]
Hart Davis
collection, according to Waagen 1857, but unconfirmed
Probably lot
85, W. A. L. Fletcher sale, Christies, London, 1914
Bought Cohen
Asscher,
London, ca. 1941
Lady Dunsany,
London, ca. 1954, her sale, Christies, London, November 25, 1966, lot 67
Bought Owen. The sale catalogue adds John Bolton and Annabella, Lady Boughey, to the list of previous owners, both unconfirmed
Acquired by
the Putnam Foundation, 1969
PROVENANCE NOTES
[1] L.
Caracciolo, with engraved reproductions by Richard Earlom, Liber Veritatis
di Claudio Gelee
(Rome, 1815). In 1775, while the painting was in the possession of Sir Joshua
Reynolds, an engraving after it was made by John Pye the Elder.
[2] John
Smith, A Catalogue Raisonn of the Works of the Most Eminent Dutch, Flemish,
and French Painters,
9 vols. (London, 182942), 8:24546, perhaps also no. 346, and 9: supplement,
p. 807, no. 12
[3] G. F.
Waagen, Galleries and Cabinets of Art in Great Britain, 4. vols. (London, 1857), 4:42728
Franois
Clouet (French,
before 15221572)
Guy XVII,
Comte de Laval, ca.
1540
Oil on oak
panel
12 3/4 x 9
5/8 in. (32.2 x 24.4 cm)
1955:001
PROVENANCE
Chteau de
Nantilly (the seat of the bishops of Lyon)
M. de
Montgolfier
M. Lucien
Brun, Chteau dEssuly, near Lyon
Private
collection, Paris
Acquired by
the Putnam Foundation, 1955
Jean-Baptiste-Camille
Corot (French,
17961875)
View of
Volterra, 1838
Oil on canvas
62 5/8 x 47 in. (159.1 x 119.3 cm)
Signed and
dated lower left: COROT 1838
1955:002
PROVENANCE
Durand-Ruel,
Paris
Boussac
collection, Paris
Wildenstein
& Co., New York
Acquired by
the Putnam Foundation, 1955
Jacques-Louis
David (French,
17481825)
Portrait of
Cooper Penrose, 1802
Oil on canvas
51 3/8 x 38
3/8 in. (130.5 x 97.5 cm)
Signed and
dated at lower right: Louis David / faciebat / parisiis anno / Xme /
republicae Gallicae
1953:001
PROVENANCE
Cooper
Penrose, thence by descent until 1953 [1]
Wildenstein
& Co., New York
Acquired by
the Putnam Foundation, 1953
[1] A letter
from David to Penrose regarding the commission and the payment schedule
remained with the Penrose family and is now in the archives of the Timken
Museum of Art, along with a typescript history of the Penrose family compiled
in August 1966 by direct descendants of the sitter.
Jean-Honor
Fragonard (French,
17321806)
Blindmans
Buff (Le Colin-Maillard), ca.177580 [1]
Oil on canvas
24 5/8 x 17
3/4 in. (62.5 x 45.1 cm)
1954:001
PROVENANCE
Hippolyte
Walferdin, Paris, his sale, Htel Drouot, Paris, April 3, 1880, lot 12 [2]
Bought by
Beurnonville, Paris
Camille
Groult, Paris, by 1889
Wildenstein
& Co., New York, 1954
Acquired by
the Putnam Foundation, 1955
PROVENANCE NOTES
[1] Despite
some disagreement over its precise date, it is generally assumed that Blindmans
Buff was painted
after the artists second journey to Italy in 177374. Fragonards most recent
cataloguers (Cuzin 1988 and Rosenberg 1989) date the painting to ca. 1773 (?)
and 177580, respectively.
[2] The early
history of the Timkens Fragonard is unknown. During the 1770s and 1780s,
Fragonards cabinet paintings appeared frequently on the art market, and
sometimes a single painting changed hands several times over the course of a
few years. Blindmans Buff was first recorded in the collection of Hippolyte Walferdin, who
formed a celebrated collection of works by Fragonard.
Nicolas de
Largillierre (French
16561746)
Portrait
of Barthlemy-Jean-Claude Pupil, 1729 [1]
Oil on canvas
54 1/2 x 41
7/8 in. (138.4 x 106.4 cm)
1971:001A
PROVENANCE
By a series
of indirect inheritances to Comte Olivier de la Ferrire, his sale, 1969
Acquired by
the Putnam Foundation, 1971
PROVENANCE NOTES
[1] Inscribed
on the lining of the canvas on the reverse, evidently copying an inscription on
the back of the original canvas, is the following legend: peint par / N. de
Largillierre. / .1729 / barthelmis.jean.claude.pupil. / chevalier.premier
president. / de.la.cour.des monnoyes. / lieutenant.general.de.la. / senchausse.
de Lyon
Nicolas de
Largillierre (French
16561746)
Portrait
of Marguerite de Sve, Wife of Barthlemy-Jean-Claude Pupil, 1729 [1]
Oil on canvas
54 1/2 x 41
7/8 in. (138.4 x 106.4 cm)
1971:001B
PROVENANCE
By a series
of indirect inheritances to Comte Olivier de la Ferrire, his sale, 1969
Acquired by
the Putnam Foundation, 1971
PROVENANCE NOTES
[1] Inscribed
on the lining of the canvas on the reverse, evidently copying an inscription on
the back of the original canvas, is the following legend: peint par / N. de
Largillierre. / .1729
Claude-Joseph
Vernet (French,
17141789)
A Seaport
at Sunset, 1749
Oil on canvas
44 7/8 x 64 5/8 in. (114 x 164.1 cm)
Signed and
dated on the end of the box, below the lighthouse, on which a seated, turbaned
figure is smoking: Joseph Vernet / f. Romae 1749
1978:006
PROVENANCE
Probably
bought in Rome, 1749, by the comte de Merle, his sale, Ph. F. Juillot fils,
Paris, March 14, 1784, lot 22, with a pendant [1]
Bought Paillet,
a dealer (according to a manuscript note against this lot in the copy of the
aforementioned sale catalogue, in the library of the National Gallery, London)
Luttrellstown
Castle, Clonsilla, Ireland. It has been suggested that the painting was bought
about 1800 by Luke White, a member of the Irish Parliament, when he bought the
house for the Luttrell family, from whom it passed to the Guinnesses, the last
of whom to own it was the Honorable Mrs. (Aileen) Plunket (ne) Guinness, her
sale, Sothebys, London, July 13, 1977, lot 8
Acquired by
the Putnam Foundation, 1978
PROVENANCE NOTES
[1] The
Timken painting has been identified (Paris, Muse de la Marine, Palais de
Chaillot, 197677, Joseph Vernet, 17141789, p. 57, no. 19, ill.) as one of a
pair that figured as lot 22 in the sale catalogue of pictures belonging to the
comte de Merle.