northbrook.md

Northbrook works at CMOA 64.11.13; Puligo, Domenico (attributed to); Portrait of a Young Man, early 16th century Attributed to Domenico Puligo [1492-1527], Florence, Italy; Palazzo Riccardi, Florence, Italy [1]; Jean-Baptiste-Pierre Lebrun [1748-1813], Paris, France, by 1809 [2]; Sir Thomas Baring [1772-1848], London, England and Stratton Park, Hampshire, England, by 1824 [3]; Thomas Baring, M.P. [1799-1873], London, England, c.1848 [4]; bequeathed to his nephew, Lord Northbrook, subsequently 1st Earl of Northbrook [1826-1904], London, England and Stratton Park, Hampshire, England, in 1873 [5]; by descent to the 2nd Earl of Northbrook [1850-1929], London, England and Stratton Park, Hampshire, England, until at least 1925? [6]; sold from Northbrook collection at an unknown date (see comment on next entry); sale, Sotheby and Co., London, July 16, 1930, no. 101 [7]. Lilienfeld Galleries, New York, NY, by January 1934. Howard A. Noble [1874-1964], Pittsburgh, PA, by 1939 until April 30, 1964 [8]; his bequest to Museum of Art, Carnegie Institute, Pittsburgh, PA, May 1964.

Notes: [1]. Palazzo Riccardi was formerly the Medici Palace; the possibility that the portrait is that of a member of the Medici family and that it was in the illustrious Medici family collection (for example, see the Northbrook collection catalogue entry in note [3],) likely stems from this fact. [2]. In 1809, Lebrun published an engraving of the portrait as by Raphael (plate no. 40) as part of a collection formed during trips in 1807 and 1808. [3]. Sir Thomas Baring likely acquired the painting through Mr. Harris, Bond Street, London who received many of the Lebrun pictures on consignment. See information on its early provenance and attribution in various sources, including W. Buchanan, "Memoirs of Painting", London, 1824 (p. 254, as by Raphael) and "A Descriptive Catalogue of the Collection of Pictures Belonging to the Earl of Northbrook", 1889, no. 211 (as by Andrea del Sarto). [4]. As stated in the Introduction of "A Descriptive Catalogue of the Collection of Pictures Belonging to the Earl of Northbrook", 1889: "In 1848, on the death of Sir Thomas Baring, his collection was sold in accordance with his will; and the Italian, Spanish, and French pictures were bought at a valuation by Mr. Baring." Waagen in Vol. 2 of "Treasures" published in 1854, describes the picture in Mr. Baring's collection and attributes it to Pontormo (p. 176). [6]. In June 1904, the painting is listed as being at the 42 Portman Square, London residence (see handwritten note on an inventory of paintings made "heirlooms" in August 1899, copy from the Northbrook archives.) Bernard Berenson attributes the picture to Franciabigio in 1896 and 1909 editions of "Florentine Painters of the Renaissance" and so does Venturi in "Storia dell' Arte Italiana" (1925, p. 452). All three publications still refer to the painting as being in the Northbrook collection. [7]. Listed and illustrated as by Raphael under section "The Property of a Gentleman" of the sale entitled "Pictures and Drawings by Old Masters"; several other pictures in that section were also part of the Northbrook collection, so, perhaps, the "Gentleman" referred to was the Earl himself (though he died in 1929) or someone else who bought a number of the pictures and resold them at this auction. Bought by Asscher for £500 (see curatorial file for copy of annotated catalogue from the Frick Library and Ellis Waterhouse's annotated copy of the 1889 Northbrook collection catalogue, the Getty Research Institute.) [8]. See reference of the painting in Frick Photoarchive 721-19c. It includes the following information: "Photograph, Ira W. Martin 32921 negative made from Bachrach photograph lent by Howard Noble, Pittsburgh, owner of the painting in 1939, Frick Art Reference Library, New York (FARL) negative, 1939." In 1944, the painting hung in the parlor of the Noble residence at 1245 Shady Avenue, Pittsburgh, PA. 66.11.1; Dughet, Gaspard; Landscape with a Natural Arch, c. 1670-1673 Gaspard Dughet [1615-1675], Rome, Italy. William Harris, by 1811; sale, Christie's, London, England, on February 9, 1811, lot 10 [1]; purchased by Sir Henry Charles Englefield [1752-1822], February 9, 1811 until 1822 [2]; estate of Sir Henry Charles Englefield, 1822 until March 8, 1823; Christie's sale, London, England, March 8, 1823, lot 64; purchased by Mr. Norton [3]. Colonel Hugh Duncan Baillie [1777-1866], by 1824; Baillie sale, Christie's, London, March 6, 1824 [4]. Mr. Farrer, by 1849; purchased by Thomas Baring, M.P. [1799-1873], London, England, 1849 until 1873; bequest to his nephew Thomas George Baring, Lord Northbrook, subsequently 1st Earl of Northbrook [1826-1904], London, England and Stratton Park, Hampshire, England, 1873 until 1904 [5]; by descent to Francis George Baring, 2nd Earl of Northbrook [1850-1929], London, England and Stratton Park, Hampshire, England, until 1929; Florence Anita, Countess of Northbrook [1860-1946 ], his wife, London, England, 1929 until at least June 1937; sale, Christie, Manson & Woods, London, England, June 11, 1937, no. 13 [6]; purchased by Sneyd [7]; sale, Christie, Manson & Woods, London, England, February 25, 1938, no. 118 [8]; purchased by Smith, February 1938 [9]. Howard A. Noble [1874-1964], Pittsburgh, PA by November 1939 until April 30, 1964 [10]; estate of Howard A. Noble, April 30, 1964 until September 20, 1966 [11]; bequest to Museum of Art, Carnegie Institute, Pittsburgh, PA, September 1966.

Notes: [1]. William Harris sale.
[2]. Purchase price of £35, 14s.
[3]. Purchase price of £39, 18s. [4]. The sale of Colonel Hugh Duncan Baillie. This work did not sell, according to Marie-Nicole Boisclair's "Gaspard Dughet, Sa vie et son oeuvre", Paris, 1987, no. 349, p. 277; also, The Getty Provenance Index shows that the work was bought in for 39Gs; the 1889 catalogue of the Earl of Northbrook collection lists a price in pounds, £40, 19s., for this sale. [5]. See 1889 catalogue of the Earl of Northbrook collection, no. 254, as "The Arch". It is listed as being on panel but when lent by Mr. Baring to the 1872 Royal Academy Winter exhibition as "Landscape and Figures," no. 102, it is listed as on canvas. [6]. Countess of Northbrook sale entitled "Pictures by Old Masters;" this work was listed as "A Landscape, with classical figures". [7]. Purchase price of £12 12s, according to annotated sales catalogue at the Frick Library, but apparently bought in, according to annotated sales catalogue at the Getty Research Institute (see curatorial file.) [8]. Sold under the heading of "Property of a Lady" as "A Landscape, with classical figures." Countess of Northbrook was the likely seller (see curatorial file.) [9]. Purchase price of £27, 6s. [10]. Negative 32926 FARL was made from Bachrach photograph Mr. Noble lent to the Frick Art Reference Library in November 1939. In 1944, the painting hung along the stairway of the Noble residence at 1245 Shady Avenue, Pittsburgh, PA. [11]. The painting was transferred from the Noble residence to the museum with the rest of Mr. Noble's collection. Correspondence with the estate trustee (see donor file) and Museum Committee meeting minutes indicate that it was subsequently acquired from the estate at the appraised value with funds provided by Mr. Noble's bequest. It was accessioned in September 1966.

64.11.15; Ysenbrandt, Adrien; Vision of Saint Ildephonsus, c. 1520-1550 Adrien Ysenbrandt [active 1510-1551], Bruges, Belgium. M. Nieuwenhuys, in 1856 [1]; purchased by Thomas Baring, M.P. [1799-1873], London, England, in 1856 [2]; bequest to his nephew, Thomas George Baring, Lord Northbrook, subsequently 1st Earl of Northbrook [1826-1904], London, England and Stratton Park, Hampshire, England, in 1873 [3]; by descent to Francis George Baring, 2nd Earl of Northbrook [1850-1929], London, England and Stratton Park, Hampshire, England, until at least 1927, probably April 1929 [4]. Julius Böhler, Munich, Germany, August 30, 1929 until at least January 16, 1935 [5]. Howard A. Noble [1874-1964], Pittsburgh, PA by April 1944 until April 30, 1964 [6]; his bequest to Museum of Art, Carnegie Institute, Pittsburgh, PA, May 1964.

Notes: [1]. The information is from entry no. 5 in the 1889 catalogue of the Earl of Northbrook collection. It refers, most likely, to noted collector and dealer C. J. Nieuwenhuys [1799-1883], Brussels and London. [2]. As by Bernard Van Orley. [3]. In the 1889 catalogue of the Earl of Northbrook collection, this work, no. 5, is simply listed under the "Early Netherlandish School" section, with the following footnote: "A similar picture was, in 1860, in the collection of the Rev. Mr. Heath, Vicar of Enfield." In June 1904, the painting is listed as being at the 42 Portman Square, London residence (see handwritten note on an inventory of paintings made "heirlooms" in August 1899, copy from the Northbrook archives.) [4]. The Earl lent the painting to the Royal Academy Exhibition of Flemish and Dutch art in 1927. When and how the picture left the Northbrook collection is unclear. Ellis Waterhouse's annotated copy of the 1889 Northbrook collection catalogue (Getty Research Institute) records that it was sold to Colnaghi for £750 in September 1929, after the Earl died. This appears to be in conflict with the records of the Böhler firm in note [5] below, which show acquisition of a panel painting with this title and dimensions on August 30, 1929. Furthermore, Colnaghi stockbooks show no relevant entries for such a painting during this period. However, an annotated copy of the 1889 Northbrook collection catalogue at the Colnaghi library also show the figure £750 in the entry for this painting (see curatorial file for correspondence with Alice Thompson, Colnaghi Archives.) [5]. Stock no. 217-29. Photo, no. R 770. Information from a copy of the firm's inventory records at the Getty Research Institute. The record for this painting lists the source as "Sarasota N 248", which may suggest a connection with John Ringling with whom the Böhler firm had a long and close relationship. [6]. In 1944, the painting hung in the living room of the Noble residence at 1245 Shady Avenue, Pittsburgh, PA.

74.7.23; Reynolds, Sir Joshua; Ann Franks Day (Lady Ann Fenoulhet), 1760 Sir Joshua Reynolds [1723-1792], London, England; likely commissioned by Richard Edgcumbe, 2nd Baron Edgcumbe [1716-1761], London, England, c. 1759; by gift or descent to his mistress, the sitter, Ann Franks Day (Lady Ann Fenoulhet) [c.1728-1790], London, England, until c. 1763, Calais, France, c. 1763 until c. 1790 [1]; possibly sold for the benefit of her granddaughter Lydia de la Villebague, Paris, France, after 1790 [2]. Sir Thomas Baring [1772-1848], London, England and Stratton Park, Hampshire, England, by 1845 until 1848 [3]; Thomas Baring, M. P. [1799-1873], London, England, probably 1848, but by 1851, until likely 1873 [4]; by bequest or descent to his nephew Thomas George Baring, 1st Earl of Northbrook [1826-1904], London, England and Stratton Park, Hampshire, England, until 1904 [5]; by descent to Francis George Baring, 2nd Earl of Northbrook [1850-1929], London, England and Stratton Park, Hampshire, England, until 1929; by descent to his wife, Florence Anita, Countess of Northbrook [1861-1946], London, England, 1929 until February 1938; Christie, Manson & Woods, London, June 11, 1937, no. 15 [6]; sold at Christie, Manson & Woods, February 25, 1938, no. 120 [7]; purchased by Markey, February 25, 1938 [8]. Symons Galleries, New York, NY, in April 1938 [9]. Charles J. Rosenbloom [1898-1973], Pittsburgh, PA (Lugt Suppl. 633b), by February 1946 until April 1, 1973 [10]; bequest to Museum of Art, Carnegie Institute, Pittsburgh, PA, February 1974.

Notes: [1]. Ann Franks Day married Sir Peter Fenoulhet (sometimes spelled Fenhoulet) in July 1762. She was his second wife. [2]. See copy of Lady Fenoulhet's will in curatorial file. [3]. See Graves and Cronin "A History of the Works of Sir Joshua Reynolds, P. R. A.", Volume 1, London, 1899. [4]. The portrait, as that of "Mrs. Fenhouilet" (sic) by Sir Joshua Reynolds, is included in the chapter "The Collection of Thomas Baring, M.P., Upper Grosvenor Street, Grosvenor Square" in "London Exhibited in 1851," edited and published by John Weale, London; the same information is repeated in "The Pictorial Handbook of London," Henry G. Bohn, York Street, Covent Garden, 1854. [5]. Edward Hamilton's "Catalogue Raisonné of the Engraved Works of Sir Joshua Reynolds, P. R. A.", London, 1884, p. 171 adds the following information about the portrait: "FENHOULET, LADY. Painted 1760. Damaged by fire; has been restored. Lord Northbrook." The fire involved is likely the well-publicized one at Mr. Thomas Baring's London house at Grosvenor Square in October 1853. The fire damage/restoration comment is notable in that it helps to explain the condition of the painting. [6]. Countess of Northbrook sale, entitled "Pictures by Old Masters" as "Portrait of Lady Anne Fenhoulet;" bought in. [7]. "Important Ancient and Modern Pictures and Drawings" under the heading "The Property of a Lady". Annotated sales catalogues (Ellis Waterhouse) at Getty Research Institute identify the seller at the 1938 sale as Lady Northbrook. [8]. The buyer, "Markey," and purchase price, £115, 10s., at the 1938 sale are from an annotated sales catalogue at the Frick Research Library. [9]. Reported and illustrated in "The Connoisseur" issue of June 1938. [10]. The painting was included in the exhibition "Paintings and Prints from the Collection of Charles J. Rosenbloom" that was held at the Carnegie Institute in February - March 1946.

29.2.16; unknown Italian; Shepherd Boy with Recorder, c. 1700-1720 Unknown artist, Italy. Possibly Lebrun collection [1]. Sir Thomas Baring [1772-1848], London, England and Stratton Park, Hampshire, England, until 1843; sold to William Coningham in 1843; William Coningham [1815-1884], London, England and Brighton, England, 1843 until June 9, 1849; sale, Christie and Manson, London, England, June 9, 1849, no. 21; purchased by Thomas Baring, M. P. [1799-1873], London, England [2]; Thomas Baring, M. P., until 1873; bequest to his nephew, Thomas George Baring, Lord Northbrook, subsequently 1st Earl of Northbrook [1826-1904], London, England and Stratton Park, Hampshire, England, 1873 until at least 1896 but likely 1904 [3]; likely, by descent, to Francis George Baring, 2nd Earl of Northbrook [1850-1929], London, England and Stratton Park, Hampshire, England [4]. John Levy Galleries, New York, NY, by December 1920 [5]; sold to Mrs. J. Willis Dalzell (Mary Beer Dalzell) [1844-1929], Pittsburgh, PA [6]; Mrs. J. Willis Dalzell, Pittsburgh, PA, December 4, 1920 until February 13, 1929; Mary B. Dalzell estate, February 1929; bequest to Department of Fine Arts, Carnegie Institute, Pittsburgh, PA, February 1929 [7].

Notes: [1]. Reference of the painting (as "A Laughing Boy, Crowned with Ivy Leaves, and with a Pipe in his Hand" by Murillo as having been in the Lebrun collection is from "Murillo" by Albert F. Calvert, John Lane, London and New York, 1906. The Lebrun reference is likely to Jean-Baptiste-Pierre Lebrun [1748-1813], Paris, France. [2]. As by Murillo. Purchased for £152 5s. See copy of the annotated auction catalogue from the Getty Research Institute in curatorial file. [3]. The work, listed as by Murillo, is no. 231 in the 1889 catalogue of the Earl of Northbrook collection. The painting remained in the collection at least until 1896 (see copy of list from the Northbrook archives, dated December 2, 1896, of Northbrook collection art works designated as "heirlooms.") [4]. The painting is still listed as being in the Northbrook collection in the 1906 reference in note [1]. It left the Northbrook collection at an unknown date. [5]. John Levy Galleries stock # 17543. It is listed as a Murillo work. [6]. Mrs. Dalzell purchased the painting for $12000. [7]. The painting was collected from Mrs. Dalzell's residence on Ridge Avenue in Pittsburgh and brought to Carnegie Institute on February 19, 1929. It was accessioned on February 25, 1929.

2002.77; Peters, Reverend Matthew William; Hero, Ursula, and Beatrice in Leonato's Garden (act 3, scene 1 from Much Ado About Nothing), Reverend Matthew William Peters [1742-1814], England; commissioned by Alderman John Boydell [1720-1804], London, England, c. 1788; sold at the Shakespeare Gallery sale, May 20, 1805, lot no. 44, to George Stainforth for Sir Francis Baring, 1st Baronet [1740-1810], Stratton Park, Hampshire, England [1], [2]; by descent to his son, Sir Thomas Baring, 2nd Baronet [1772-1848], Stratton Park, Hampshire, England and London, England [3]; his son, Francis Thornhill Baring, 1st Baron Northbrook [1796-1866], London, England and Stratton Park, Hampshire, England; his son, Thomas George Baring, Lord Northbrook, subsequently 1st Earl of Northbrook [1826-1904], London, England and Stratton Park, Hampshire, England; Francis Baring, 2nd Earl of Northbrook [1850-1929], Stratton Park, Hampshire, England and London, England, until 1929; sold at Stratton Park Furnishings sale, November 1929, lot no. 495 [4]. Arthur L. Nicholson, Llandaff House, Weybridge-on-Thames, Surrey, England, by May 1933 [5]; Nicholson sale, American Art Association, Anderson Galleries, Inc., New York, NY, May 18, 1933, no. 33 [6]; sold to Mrs. Alexander C. Speyer [1889-1979], Pittsburgh, PA [7]; by descent to her children Alexander C. Speyer, Jr., Darthea Speyer, and Nora Fromboluti; gift to Carnegie Museum of Art, Pittsburgh, PA, December 2002 [8].

Notes: [1]. See copy of sale information from the Getty Provenance Index in curatorial file. Sold for £57 15s. [2]. See "Matthew William Peters, R.A., His Life and Work" by Lady Victoria Manners, London, 1913. [3]. He lent the painting to the 1817 exhibition at the British Institution in London. [4]. The painting, lot no. 495, was illustrated in the Stratton Park sale catalogue; the sale was held on location on November 27-29, 1929. The painting sold for 540 guineas (£567, the highest price obtained at the sale.) See curatorial file for annotated copy of the auction catalogue and press clippings reporting on the sale. [5]. The back of the stretcher contains a sticker from an unknown sale, lot 28. This might be the sale from which Nicholson acquired the painting or a previous attempt by him to sell it before the May 1933 sale in New York. [6]. Sale 4045, which included "Valuable Paintings, The Property of Arthur Nicolson, Esq." [7]. According to annotated sale catalogue at the Frick Library, the painting sold to Mrs. A. C. Speyer for $400. [8]. The painting was on loan deposit at Carnegie Museum of Art, Pittsburgh, PA, from c. 1965. It was accessioned in February 2003.

61.42.2; Hals, Frans; Pieter Cornelisz. van der Morsch, 1616 Frans Hals [c.1581-1666], Haarlem, Netherlands. Van Tol, Zoeterwoude, Netherlands, until June 15, 1779 [1]; van Tol collection sale, June 15, 1779, no. 8 [2]; purchased by Mr. Delfos. Sold at Philippus van der Schley, Amsterdam, Netherlands, on June 16, 1802, no. 75 [3]; purchased by Barend Kooy [1750-1819], Amsterdam, Netherlands [4]; Barend Kooy collection until 1819; Kooy estate, 1819 until April 20, 1820; Kooy estate sale, April 20 1820, no. 38; purchased by Casparus Kopersmit [1784-1857] [5]. C. H. Hodges and Other Collections sale, Amsterdam, Netherlands, February 27, 1838, no. 294. Jan Andries Töpfer, Amsterdam, Netherlands, until November 16, 1841; Töpfer sale, November 16, 1841, no. 28 [6]; Tijssen, in 1841 [6]. Martin Colnaghi, London, England, by 1866; purchased by Thomas Baring, M. P. [1799-1873], London, England, in 1866; bequest to his nephew, Thomas George Baring, Lord Northbrook, subsequently 1st Earl of Northbrook [1826-1904], London, England and Stratton Park, Hampshire, England, 1873 until 1904 [7]; by descent to his son, Francis George Baring, 2nd Earl of Northbrook, [1850-1929], London, England and Stratton Park, Hampshire, England, until 1927 [8]; purchased by Duveen Brothers, London, England, Paris, France, and New York, NY, in March 1927 [9]; purchased by Mr. Alfred W. Erickson [1876-1936], New York, NY, January 1929 until November 2, 1936; by inheritance to his wife, Anna Edith Erickson [-1961], New York, NY, November 2, 1936 until February 7, 1961; estate of Anna Edith Erickson, February 7, 1961 until November 15, 1961; Erickson sale, Parke-Bernet Galleries, New York, NY, November 15, 1961, no. 13 [10]; purchased from the sale, with funds provided by Mrs. Alan Mellon Scaife, by Department of Fine Arts, Carnegie Institute, Pittsburgh, PA, November 1961 [11].

Notes: [1]. The location of this owner is recorded as Zoeterwoude, near Leyden. Leyden is the older Dutch spelling of the city of Leiden, which borders the municipality of Zoeterwoude. [2]. Sold for 15 fl. The date of the van Tol sale is from the Frick Art Reference Library Photoarchive and, also, from the provenance of another painting lot in the same sale, now at the National Gallery of Art, Washington DC. The sale date of June 15, 1772 given in the 1889 Northbrook collection catalogue is apparently in error. [3]. The seller is identified in the Getty Provenance Index as "Merrem." [4]. Purchased for 55 fl. [5]. Purchased for 10 fl. The purchaser Casparus Kopersmit, identified in the Getty Provenance Index, was married to Barend Kooy's daughter Alida Elisabeth Kooy. See curatorial file. [6]. Frick Photoarchive gives the purchaser's name as Tijssen and records15 fl 50 as the purchase price. See copies of the Frick Library annotated sale catalogue and of Frick Photoarchive record for the work. [7]. See 1889 catalogue of the Earl of Northbrook collection, no. 61. In June 1904, the painting is listed as being at the 42 Portman Square, London residence (see handwritten note on an inventory of paintings made "heirlooms" in August 1899, copy from the Northbrook archives.) [8]. The painting was listed by a Duveen representative as hanging in the dining room of the Earl's London house in 1913. [9]. See copies of Duveen correspondence (from the Getty Research Institute) in curatorial file regarding the sale of the Hals, still on panel, as part of a group of seven paintings. [10]. Sale entitled "The Erickson Collection of Old Master Paintings."