Imaginary View of the Terrace at the Château of Marly
Framed: 45 x 61 7/8 x 3 3/4 inches (114.3 x 157.16 x 9.53 cm)
- 123
La Saison de Bagatelle: Exposition des Peintres de Jardins des XVIIIe et XIXe Siècles, Château de Bagatelle, Paris, June-July 1928, no. 79, as Vue prise de Marly vers Saint Germain-en-Laye.
Exposition de l'Art des Jardins et des Peintres de la Fleur, Musée des Beaux-Arts Jules Chéret, Nice, March-April 1929, no. 201, as Vue prise de Marly vers Saint Germain-en-laye.
Exhibition, Kansas City Art Institute, Kansas City, MO, April 11-May 20, 1932.
Loan Exhibition of Prints, Drawings, and Paintings Illustrating the Development of the Fountain, Fogg Art Museum, Harvard University, Cambridge, MA, April 4-27, 1935, no. 46, as The Terrace at Marly.
French Painting and Sculpture of the XVIII Century, The Metropolitan Museum of Art, New York, November 6, 1935-January 5, 1936, no. 53, as Terrace of the Château de Marly.
French Painting, 1100-1900, Carnegie Institute, Pittsburgh, October 18-December 2, 1951, no. 91, as Terrace of Château de Marly.
French Eighteenth Century Painters: Loan Exhibition for the Benefit of the Education Program of The Minneapolis Institute of Arts, Minneapolis Institute of Arts, October 6-November 2, 1954; Wildenstein, New York, November 16-December 11, 1954, no. 24, as Terrace of the Château de Marly.
Great French Paintings: An Exhibition in Memory of Chauncey McCormick, The Art Institute of Chicago, January 20-February 20, 1955, no. 36, as Terrace at the Château de Marly.
The Century of Mozart, The Nelson-Atkins Museum of Art, Kansas City, MO, January 15-March 4, 1956, no. 94, as Terrace of the Château de Marly.
Homage to Mozart: A Loan Exhibition of European Painting, 1750-1800, Honoring the 200th Anniversary of Mozart's Birth, Wadsworth Atheneum, Hartford, CT, March 22-April 29, 1956, no. 52, as Terrace of the Chateau de Marly.
Fontinalia: The Art of the Fountain and the Fountain in Art: A Loan Exhibition of Sculpture, Paintings, Drawings, Prints, and Photographs, The University of Kansas Museum of Art, Spooner Hall, Lawrence, KS, October 19 -November 30, 1957, no. 45, as The Terrace at Marly.
The French Tradition, Marion Koogler McNay Art Institute, San Antonio, TX, February 8-March 12, 1961, no cat., as Terrace of the Chateau de Marly.
Hubert Robert, 1733-1808: Paintings and Drawings, Vassar College Art Gallery, Poughkeepsie, NY, October 9-November 11, 1962, no. 15, as Terrace of the Chateau de Marly.
The Romantic Era: Birth and Flowering 1750-1850, Art Association of Indianapolis, Herron Museum of Art, February 21-April 11, 1965, no. 5, as Terrace of the Chateau de Marly.
The Eye of Thomas Jefferson, National Gallery of Art, Washington, DC, June 5-September 6, 1976, no. 208, as The Terrace of the Château at Marly.
Hubert Robert: The Pleasure of Ruins, Wildenstein, New York, November 15-December 16, 1988, unnumbered, as Terrace of the Château de Marly.
Hubert Robert, Musée du Louvre, Paris, March 9-May 30, 2016; National Gallery of Art, Washington, DC, June 26-October 2, 2016, no. 70 (Washington, DC, only), as The Terrace at the Château de Marly.
Possibly Baron Gustave Samuel James de Rothschild (1829-1911), Paris, by May 25, 1892 [1];
Possibly given to his daughter, Berthe Juliette Gudule Leonino (née de Rothschild, 1870-1896), Paris, May 25, 1892-December 14, 1896 [2];
Baron Emmanuel David Berénd Leonino (1864-1936), Paris, by June 1928-July 24, 1931 [3];
Purchased from Leonino by Charles Michel, Paris, by July 24, 1931;
Purchased from Charles Michel, through Richard Owen and Harold Woodbury Parsons, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1931 [4].
NOTES:
[1] According to a letter to NAMA from dealer Richard Owen, April 25, 1932, "The picture formerly was in the collection of the Baron Gustav [sic] de Rothschild of Paris, and on his death passed into the hands of Baron Leonino, his son-in-law, from whom it was purchased." See letter from dealer Richard Owen to Paul Gardner, NAMA, April 25, 1932, NAMA curatorial files. However, Baron de Rothschild's posthumous inventory from 1912 does not include any definitive indication of NAMA's painting. There was one painting, no. 756, by the French eighteenth-century school, entitled Personnages dans un parc, that might correspond to The Nelson-Atkins painting, but it was not noted as being given to Baron Leonino. Sixty other paintings from Baron de Rothschild's collection were given to Baron Leonino, but none of them correspond to the Nelson-Atkins painting. See "Inventaire après le décès de Monsieur le Baron Gustave de Rothschild," April 26, 1912, 000/1037/122, and 000/929/38 (OE/346), The Rothschild Archive, London.
[2] It is possible that Baron de Rothschild's daughter, Juliette Leonino (née de Rothschild), and her husband, Baron Leonino, already owned the Nelson-Atkins painting before the time of Baron de Rothschild's posthumous inventory in 1912. In fact, Baron de Rothschild may have given the painting as a wedding present to Juliette on May 25, 1892. See manuscript note, ca. 1934, NAMA curatorial files. MacKenzie Mallon, provenance specialist, and Glynnis Stevenson, project assistant, NAMA, researched at the Rothschild Archive, London, and there is nothing definitive placing this painting in the collection of Baron Gustave de Rothschild nor Juliette Leonino.
[3] Although Baron Leonino may have inherited the painting when his wife died in 1896, he was a collector too and may have purchased the painting himself. He definitely had the painting by June 1928 when he lent it to the La Saison de Bagatelle exhibition.
[4] See letter from Harold Woodbury Parsons to Herbert V. Jones, NAMA, February 15, 1932, NAMA curatorial files. Edward Morton is also erroneously given as the seller of the painting in several of NAMA's documents, but he was the secretary to dealer Richard Owen, London.
Possibly Joshua James Foster, French Art from Watteau to Prud'hon (Princeton, NJ: Princeton University Press, 1907), 3:65, as Vue de Marly.
La Saison de Bagatelle: Exposition des Peintres de Jardins des XVIIIe et XIXe Siècles, exh. cat. (Paris: Frazier-Soye, 1928), 16, (repro.), as Vue prise de Marly vers Saint-Germain-en-Laye.
Xavier d'Orfeuil, "La Vie qui passe: Les Peintres de jardins à Bagatelle," Le Gaulois, no. 18516 (June 16, 1928): 1, as Vue prise de Marly vers Saint-Germain-en-Laye.
May Birkhead, "Paris Exhibits Art of Watteau Period: Works of Eighteenth Century Painters Shown In Setting of Bagatelle Garden," New York Times 77, no. 25,726 (July 1, 1928): E[1].
René Barotte, "Les grandes expositions: Au Château de Bagatelle," L'Homme libre, no. 4383 (July 23, 1928): 2, as Les jardins de Marly.
H. Marcel Magne, "L'Art des Jardins a [sic] Bagatelle," La Renaissance de l'art français et des industries de luxe, no. 8 (August 1928): 356.
Raymond Bouyer, "Revue de l'Exposition au Bagatelle," Bulletin de l'Art ancien et moderne, no. 751 (September-October 1928): 305, (repro.), as Vue prise d'un jardin de Marly.
Exposition de l'Art des Jardins et des Peintres de la Fleur, exh. cat. (Nice: Musée des beaux-arts Jules Chéret, 1929), 38, (repro.), as Vue prise de Marly vers Saint-Germain-en-Laye.
Georges Avril, "L'Exposition de l'art des jardins au musée Jules Chéret," L'Éclaireur du dimanche et "La Vie pratique, Courrier des étrangers," no. 404 (March 31, 1929): 21, (repro.), as Vue prise de Marly vers Saint-Germain-en-Laye.
"Musée Jules Chéret a [sic] Nice: L'art des Jardins," Bulletin des musées de France, no. 7 (July 1929): 159, as la vue de Marly.
Paul Sentenac, Hubert Robert (Paris: Les Éditions Rieder, 1929), 52, 63n44, (repro.), as Vue de Saint-Germain prise d'une terrasse de Marly.
"The Nelson Collection Grows," Kansas City Star 52, no. 120 (January 15, 1932): D.
"Art News," Kansas City Journal-Post 78, no. 224 (January 17, 1932): 2-C, erroneously as Terrace at St. Germain.
"View New Nelson Art: Purchases for Gallery Inspected by Institute Trustees," Kansas City Star 52, no. 122 (January 17, 1932): 3, 8A, (repro.).
"Kansas City Museum Acquires Nine More Works from Nelson Fund," Art Digest 6, no. 9 (February 1, 1932): 7, (repro.), as Three Ladies on the Terrace at Marly.
"Additional Old Masters Secured for Kansas City," Art News 30, no. 19 (February 6, 1932): 1, as The Terrace of Chateau de Marly.
M[inna] K. P[owell], "Art: Mr. Parsons Will Be Heard Thursday Night on 'The Italian Renaissance,'" Kansas City Times 95, no. 88 (April 12, 1932): 10.
M[inna] K. P[owell], "Art: Art Paid Its Chief Homage to Beautiful Women in Eighteenth-Century France, Paul Gardner Tells Audience in Epperson Hall," Kansas City Times 93, no. 119 (May 18, 1932): 11.
Georges Isarlov, La Peinture Française à l'Exposition de Londres 1932 (Paris: José Corti, 1932), 26.
Edmond Pilon, "Le Bi-Centenaire du peintre Hubert Robert (1733-1808)," Le Correspondant 331 (May 25, 1933): 523, as Vue de Saint-Germain prise d'une terrasse de Marly.
André Delacour, "À travers les revues: L'esprit de la peinture: Le bi-centenaire de Hubert-Robert," L'Européen, no. 214 (June 2, 1933): 4, as Vue de Saint-Germain prise d'une terrasse de Marly.
"American Art Notes: New Nelson Gallery of Art," Connoisseur 92, no. 388 (December 1933): 419.
"Nelson Gallery of Art Special Number," Art Digest 8, no. 5 (December 1, 1933): 13, 20, 22, (repro.), as Terrace of the Chateau of Marly and Three Ladies on Terrace of Chateau de Marly.
Pierre Domène, "Le nouveau musée de Kansas City," Beaux-Arts 72, no. 48 (December 1, 1933): 2.
"The William Rockhill Nelson Gallery of Art, Kansas City Special Number," Art News 32, no. 10 (December 9, 1933): 28, 30, as Terrace of Chateau de Marly.
Minna K. Powell, "The First Exhibition of the Great Art Treasures: Paintings and Sculpture, Tapestries and Panels, Period Rooms and Beautiful Galleries Are Revealed in the Collections Now Housed in the Nelson-Atkins Museum," Kansas City Star 54, no. 84 (December 10, 1933): 4C, as The Terrace of the Chateau of Marly.
Luigi Vaiani, "Art Dream Becomes Reality with Official Gallery Opening at Hand: Critic Views Wide Collection of Beauty as Public Prepares to Pay its First Visit to Museum," Kansas City Journal-Post 80, no. 187 (December 11, 1933): 7.
"Praises the Gallery: Dr. Nelson M'Cleary, Noted Artist, a Visitor," Kansas City Star 54, no. 98 (December 24, 1933): 9A, as Terrace of the Chateau of Marly.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 41, 46, (repro.), as Terrace of Chateau of Marly.
"Museums, Art Associations and Other Organizations," in "For the Year 1933," American Art Annual 30 (1934): 175, as Chateau Marly.
George Isarlov, "Notes d'Art: L'Exposition Hubert-Robert," La Concorde (January 5, 1934).
A. J. Philpott, "Kansas City Now in Art Center Class: Nelson Gallery, Just Opened, Contains Remarkable Collection of Paintings, Both Foreign and American," Boston Sunday Globe 125, no. 14 (January 14, 1934): 16, as Chateau Terrace.
"A Thrill to Art Expert: M. Jamot is Generous in his Praise of Nelson Gallery; Early French Section in Particular Is Pleasing to the Curator of Paintings at the Louvre," Kansas City Times 97, no. 247 (October 15, 1934): 7.
Bertha H[arris] Wiles, Loan Exhibition of Prints, Drawings, and Paintings Illustrating the Development of the Fountain, exh. cat. (Boston: Fogg Art Museum, 1935), unpaginated, as The Terrace at Marly.
French Painting and Sculpture of the XVIII Century, exh. cat. (New York: Metropolitan Museum of Art, 1935), 10, (repro.), as Terrace of the Château de Marly.
News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 2, no. 4 (January 1-16, 1936): 3.
Jean Morgan, "La Double Erreur: Dernière Partie," Revue Des Deux Mondes 40, no. 3 (August 1, 1937): 650.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 41, 47, 168, (repro.), as Terrace of the Chateau of Marly.
Dorothy Adlow, "Terrace of the Chateau of Marly: A Painting by Hubert Robert," Christian Science Monitor 34, no. 71 (February 17, 1942): 12, (repro.), as Terrace of the Château de Marly.
Jeanne and Alfred Marie, Marly (Paris: Editions Tel, 1947), 19. The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 61, (repro.), as Terrace of the Chateau de Marly.
French Painting, 1100-1900, exh. cat. (Pittsburgh: Carnegie Institute, 1951), (repro.), as Terrace of Château de Marly.
French Eighteenth Century Painters: Loan Exhibition for the Benefit of the Education Program of The Minneapolis Institute of Arts, exh. cat. (New York: Wildenstein, 1954), unpaginated, as Terrace of the Château de Marly.
Pierre Rossillion, "Art et urbanisme: Les forêts de l'Ile-de-France," Le Jardin des arts 1, no. 12 (October 1955): 705, (repro.), as Vue de Marly sur Saint Germain.
Winifred Shields, "Sketch of French Landscape Acquired by Nelson Gallery: Drawing Purchased from a Dealer is a Preliminary Study for the 'Terrace of the Chateau [sic] of Marly,' a Painting Long in the Collection Here," Kansas City Star 75, no. 329 (August 12, 1955): 14, (repro.), as Terrace of the Chateau [sic] of Marly.
Great French Paintings: An Exhibition in Memory of Chauncey McCormick, exh. cat. (Chicago: Art Institute of Chicago, 1955), unpaginated, as Terrace at the Château de Marly.
"The Century of Mozart: January 15 through March 4, 1956," exh. cat., Bulletin (The Nelson Gallery and Atkins Museum) 1, no. 1 (January 1956): 13, 31, as Terrace of the Château de Marly.
"Special Exhibition: The Century of Mozart," Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 23, no. 5 (February 1956): unpaginated, as Terrace of the Chateau de Marly.
Homage to Mozart: A Loan Exhibition of European Painting, 1750-1800, Honoring the 200th Anniversary of Mozart's Birth, exh. cat. (Hartford, CT: Wadsworth Atheneum, 1956), 21, as Terrace of the Chateau de Marly.
Fontinalia: The Art of the Fountain and the Fountain in Art; A Loan Exhibition of Sculpture, Paintings, Drawings, Prints, and Photographs, exh. cat. (Lawrence, KS: University of Kansas Museum of Art, 1957), 25, as The Terrace at Marly.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 113, 261, (repro.), as Terrace of the Château de Marly.
Thomas J. McCormick, Hubert Robert, 1733-1808: Paintings and Drawings, exh. cat. (Poughkeepsie, NY: Vassar College Art Gallery, 1962), unpaginated, as Terrace of the Chateau de Marly.
Clare Le Corbeiller, "Mercury, Messenger of Taste," Metropolitan Museum of Art Bulletin 22, no. 1 (Summer 1963): 26-27, (repro.), as The Terrace of the Château de Marly.
The Romantic Era: Birth and Flowering, 1750-1850, exh. cat. (Indianapolis: Art Association of Indianapolis, Herron Museum of Art, 1965), (repro.), as Terrace of the Chateau de Marly.
W. G. Constable, "'The Romantic Era' Exhibition," Connoisseur 158, no. 638 (April 1965): 257, (repro.), as The Terrace at the Château de Marly.
Ralph T. Coe, "The Baroque and Rococo in France and Italy," Apollo 96, no. 130 (December 1972): 537-39, (repro.) [repr. in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 69-71, (repro.)], as Terrace of Château de Marly.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 137, 258, (repro.), as Terrace of the Chateau de Marly.
The Elegant Academics: Chroniclers of Nineteenth-Century Parisian Life, exh. cat. (Hartford, CT: Wadsworth Atheneum, 1974), 21, as The Terrace of the Château de Marly.
William Howard Adams, ed., The Eye of Thomas Jefferson, exh. cat. (Washington, DC: National Gallery of Art, 1976), 132, 368, (repro.), as The Terrace of the Château at Marly.
Joseph A. Lastelic, "Jefferson Exhibit Probes Remarkable Mind," Kansas City Times 108, no. 229 (May 31, 1976): 18C, as Terrace of the Chateau [sic] de Marly.
Jean-René Gaborit, Jean-Baptiste Pigalle, 1714-1785: Sculptures du Musée du Louvre (Paris: Editions de la Réunion des musées nationaux, 1985), 44-45, (repro.), as Terrasse du château de Marly.
Collection de Monsieur et Madame Roberto Polo: Vingt-six Chefs-d'Œuvre de la Peinture Française du XVIIIe siècle (Paris: Ader Picard Tajan, May 30, 1988), 50, as Terrasse du Château de Marly.
Hubert Robert: The Pleasure of Ruins, exh. cat. (New York: Wildenstein, 1988), 46, 87, (repro.), as Terrace of the Château de Marly.
Joseph Baillio, "Hubert Robert's Decorations for the Chateau de Bagatelle," Metropolitan Museum Journal 27 (1992): 164-65, 181n28, (repro.), as The Terrace of the Château de Marly.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 195, (repro.), as The Terrace of the Château de Marly.
William Howard Adams, The Paris Years of Thomas Jefferson (New Haven: Yale University Press, 1997), 240, (repro.), as The Terrace of the Château at Marly.
Arts of France: Important French Furniture, Paintings, Sculpture, Silver, Porcelain and Tapestries (New York: Christie, Manson and Woods, October 23, 1998), 189, as The Terrace of the Château at Marly.
Sophie Barthélémy, Dessins français XVIIe-XIXe siècles: florilège de la collection du musée des Beaux-Arts de Quimper (Quimper: Musée des Beaux-Arts, 1999), 58, (repro.), as La Terrasse du château de Marly.
Hubert Robert (1733-1808) et Saint-Pétersbourg: Les commandes de la famille Impériale et des Princes russes entre 1773 et 1802, exh. cat. (Paris: Réunion des Musées Nationaux, 1999), 152-53, (repro.), as La Terrasse du château de Marly.
Pierre Nora, ed., Rethinking France: Les Lieux de Mémoire (Chicago: University of Chicago Press, 2001), 2: 316, 447, (repro.), as View from Marly near Saint-Germain-en-Laye (Vue prise de Marly vers Saint-Germain-en-Laye).
Collection privée Parisienne: important mobilier, objets d'art, tableaux et dessins anciens, porcelaine de chine (Paris: Sotheby's, December 16, 2004), 62, 64, Terrasse du parc de Marly.
"Vibrant Galleries Offer Fresh View of European Art," Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 6, (repro.), as The Terrace at the Château de Marly.
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 106, (repro.), as The Terrace at the Château de Marly.
Kimberly Chrisman-Campbell, Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette (New Haven: Yale University Press, 2015), 72-73, 113, 115, (repro.), as The Terrace at the Château de Marly.
Margaret Morgan Grasselli and Yuriko Jackall, Hubert Robert, exh. cat. (Washington, DC: National Gallery of Art, 2016), 160, 237-78, (repro.), as The Terrace at the Château de Marly.
Yuriko Jackall and Kari Rayner, "Becoming Hubert Robert: some new suggestions," Burlington Magazine 163, no. 1416 (March 2021): 248-49, 252, as Terrace at the Château de Marly.
Sarah Catala, Hubert Robert: de Rome à Paris, exh. cat. (Paris: Galerie Éric Coatalem, 2021), 46, as La terrasse du château de Marly.
