Portrait of Samuel Bernard
Framed: 32 x 26 x 2 1/2 inches (81.28 x 66.04 x 6.35 cm)
French Master Drawings of the 17th and 18th Centuries in North American Collections, The Art Gallery of Ontario, Toronto, September 2-October 15, 1972; The National Gallery of Canada, Ottawa, November 3-December 17, 1972; California Palace of the Legion of Honor, San Francisco, January 12-March 11, 1973; New York Cultural Center, April 4-May 13, 1973, no. 122, as Portrait of Samuel Bernard.
Old Master Drawings from American Collections, Los Angeles County Museum of Art, April 29-June 13, 1976, no. 147, as Portrait of Samuel Bernard.
Eighteenth-Century European Drawings: From the Collections of the William Rockhill Nelson Gallery of Art, Kansas City and the Museum of Art and Archaeology, University of Missouri-Columbia, University of Missouri Museum of Art and Archaeology, October 18-November 18, 1979, unnumbered, as Portrait of Samuel Bernard.
The Rococo Age: French Masterpieces of the Eighteenth Century, High Museum of Art, Atlanta, October 5-December 31, 1983, no. 71, as Samuel Bernard.
Master Drawings from the Nelson-Atkins Museum of Art, Kansas City, Missouri, Washington University Gallery of Art, Saint Louis, MO, September 22-December 3, 1989, unnumbered, as Portrait of Samuel Bernard.
Dürer to Matisse: Master Drawings from the Nelson-Atkins Museum of Art, The Philbrook Museum of Art, Tulsa, OK, June 23-August 18, 1996; The Cummer Museum and Gardens, Jacksonville, FL, September 20-November 29, 1996; The Hood Museum of Art, Dartmouth College, Hanover, NH, December 21, 1996-March 2, 1997, no. 33, as Portrait of Samuel Bernard.
Dürer to Matisse: Master Drawings from the Permanent Collection, The Nelson-Atkins Museum of Art, Kansas City, MO, July 12-September 6, 1998, no cat., as Portrait of Samuel Bernard.
Possibly Prince Johannes I von Liechtenstein (1760-1836), Feldsberg Castle, Valtice, present-day Czech Republic, by 1836 [1];
Prince Johannes II von Liechtenstein (1840-1929), Feldsberg Castle, Valtice, present-day Czech Republic, by 1896 [2];
Minka Strauss (née Schey von Koromla, 1909-1982), by February 10-March 22, 1966 [3];
Purchased from Strauss by Rosenberg and Stiebel, Inc., New York, stock no. 4789, March 22-April 13, 1966;
Purchased from Rosenberg and Stiebel by The Nelson-Atkins Museum of Art, Kansas City, MO, 1966 [4].
NOTES:
[1] Prince Johannes I’s ownership of the drawing is mentioned numerous times in the Nelson-Atkins curatorial file, but no documentation for his ownership has yet been traced.
[2] J. Schönbrunner and J. Meder, eds., Handzeichnungen alter Meister aus der Albertina und anderen Sammlungen, vol. 1 (Vienna: Gerlach & Schenk, 1896), pl. 58.
[3] Letter from Saemy Rosenberg to Karl Hans Strauss, February 10, 1966, Frick Art Reference Library, New York, MS.065 Rosenberg & Stiebel Archive, Subject Files, Strauss, Karl Hans and Minka, copy in Nelson-Atkins curatorial file. The Rothschild family is included in the provenance of this drawing in several documents in the Nelson-Atkins curatorial file. While it is presently unclear who owned the drawing prior to Minka Strauss, she was related to the Goldschmidt-Rothschild family through her mother Lili, whose father was Maximilian von Goldschmidt-Rothschild. Minka’s sister Alix (1911-1982) was also married to Baron Guy de Rothschild (1909-2007).
[4] Rosenberg & Stiebel paid William H. Schab a commission on the sale of this drawing to the Nelson-Atkins. Frick Art Reference Library, New York, MS.065 Rosenberg & Stiebel Archive, Sales and Inventory Records, Card Files.
Josef von Schönbrunner and Josef Meder, Handzeichnungen alter Meister aus der Albertina und anderen Sammlungen, vol. 1 (Vienna: Gerlach und Schenk, 1896), (repro.).
Joseph Roman, Le
livre de raison du peintre Hyacinthe Rigaud (Paris: H. Laurens, 1919), 201,
as Mr Bernard, en pied, avec
un marine. Tout original.
“Accessions
of American and Canadian Museums, January-March 1966,” The Art Quarterly 29, no. 2 (Summer 1966): 168, 185, (repro.), as Portrait of Samuel Bernard.
François de Dainville, “Les amateurs de globes,” Gazette des beaux-arts 71, ser. 6 (January
1968): 54-55, (repro.), as Portrait de
Samuel Bernard.
Pierre Rosenberg, “Dessins français du XVIIe et du XVIIIe
siècle dans les collections américaines,” L’Œil
18, no. 212-13 (August-September 1972): 13, as Portrait de Samuel Bernard.
Pierre
Rosenberg, French Master Drawings of the
17th and 18th Centuries in North American Collections,
trans. Catherine Johnson, exh. cat. (Toronto: Art Gallery of Ontario, 1972),
57, 202-03, (repro.), as Portrait of
Samuel Bernard.
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), 185, (repro.), as Portrait
of Samuel Bernard.
Ebria
Feinblatt, Old Master Drawings from
American Collections, exh. cat. (Los Angeles: Los Angeles County Museum of
Art, 1976), 132, (repro.), as Portrait of
Samuel Bernard.
Eighteenth-Century European Drawings: From the Collections of the William Rockhill Nelson Gallery of Art, Kansas City and the Museum of Art and Archaeology, University of Missouri-Columbia, exh. cat. (Columbia, MO: University of Missouri Museum of Art and Archaeology, 1979), unpaginated, (repro.), as Portrait of Samuel Bernard.
Myra Nan Rosenfeld, Largillière and the Eighteenth-Century Portrait, exh. cat. (Montreal: Montreal Museum of Fine Arts, 1982), 282-83, (repro.), as Portrait of Samuel Bernard.
Eric M. Zafran, The Rococo Age: French Masterpieces of the Eighteenth Century, exh. cat. (Atlanta: High Museum of Art, 1983), 13, 144, 155-56, (repro.), as Samuel Bernard.
Mary O’Neill, “Hyacinthe Rigaud’s drawings for his engravers,” The Burlington Magazine 126, no. 980 (November 1984): 679-80, (repro.), as Samuel Bernard.
Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 71-72, (repro.), as Portrait of Samuel Bernard.
Roger Ward and Mark S. Weil, Master Drawings from the Nelson-Atkins Museum of Art, Kansas City, Missouri, exh. cat. (St. Louis, MO: Washington University Gallery of Art, 1989), 6-7, 10, 31, (repro.), as Portrait of Samuel Bernard.
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), 182, (repro.), as Portrait of Samuel Bernard.
Jed Jackson, Art: A Comparative Study (Dubuque, IA: Kendall/Hunt Publishing Company, 1994), 162-63, (repro.), as Portrait of Samuel Bernard.
Claire Constans, Les Peintures, vol. 2 (Paris: Éditions de la Réunion des musées nationaux, 1995), 756.
Roger Ward, Dürer to Matisse: Master Drawings from the Nelson-Atkins Museum of Art, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1996), 11, 117-19, (repro.), as Portrait of Samuel Bernard.
George L. McKenna, The Collections of the Nelson-Atkins Museum of Art: Prints 1460 – 1995 (Seattle: Washington University Press, 1997), (repro.).
Alvin L. Clark, Jr., ed., Mastery and Elegance: Two Centuries of French Drawings from the Collection of Jeffrey E. Horvitz, exh. cat. (Cambridge, MA: Harvard University Art Museums, 1998), 156, 365n28.1, (repro.), as Portrait of Samuel Bernard.
Nicolas Sainte Fare Garnot, Dessins français aux XVIIe et XVIIIe siècles: actes du colloque, École du Louvre, 24 et 25 juin 1999 (Paris: École du Louvre, 1999), 305, 316, 323n26, 331, as Portrait de Samuel Bernard.
Rochelle Ziskin, The Place Vendôme: Architecture and Social Mobility in Eighteenth-Century Paris (Cambridge, UK: Cambridge University Press, 1999), (repro.).
Dominique Brème, “Personne n’a poussé plus que de lui l’imitation de la nature,” L’Object d’art: Numéro spécial (2000): 30-31, as Samuel Bernard.
Suzanne Boorsch and John Marciari, Master Drawings from the Yale University Art Gallery, exh. cat. (New Haven, CT: Yale University Press, 2006), 181, as Samuel Bernard.
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), 92, (repro.), as Portrait of Samuel Bernard.
Ian Wardropper, European Sculpture in the Metropolitan Museum of Art, 1400-1900 (New Haven, CT: Yale University Press, 2012), (repro.).
Louis-Antoine Prat, Le dessin français au XVIIe siècle (Paris: Editions du Louvre, 2013), (repro.).
Ariane James-Sarazin, Hyacinthe Rigaud: catalogue raisonné (Dijon, France: Editions Faton, 2014), (repro.).
Shelley
Perlove and George S. Keyes, Seventeenth-Century
European Drawings in Midwestern Collections: The Age of Bernini, Rembrandt, and
Poussin (Notre Dame, IN: University of Notre Dame Press, 2015), (repro.).
Ariane James-Sarazin, Hyacinthe Rigaud 1659-1743: L’homme et son art and Catalogue raisonné (Dijon: Éditions Faton, 2016), no. D.139, pp. 1: 353, 366-68, 370, 372, 376, 2:622, as Samuel Bernard.
