View of the Tiber at Rome (recto); Studies of Legs (verso)
Framed: 17 x 21 x 1 inches (43.18 x 53.34 x 2.54 cm)
Fourth Anniversary Exhibition: Drawings, Lyman Allyn Museum, New London, CT, March 2-April 15, 1936, no. 55, as View on the Tiber.
Fiftieth Anniversary Exhibition of the Art of Europe during the XVIth-XVIIth Centuries, Worcester Museum of Art, MA, April 11-May 16, 1948, no. 48, as View of the Tiber at Rome.
Loan Exhibition of Old Master Drawings from Midwestern Museums, Detroit Institute of Arts, June 1-September 15, 1950, no. 31, as View of the Tiber at Rome.
French Painting, 1100-1900, Department of Fine Arts, Carnegie Institute, Pittsburgh, October 18-December 2, 1951, no. 138, as View of the Tiber at Rome.
The Changeful Earth: A Loan Exhibition of Paintings, Prints, and Drawings of Landscape from the 16th to the 18th Centuries, University of California, Los Angeles, Spring 1955, no. 47, as View of the Tiber at Rome.
Claude Lorrain, 1600-1682, The National Gallery of Art, Washington, D.C., October 17, 1982-January 2, 1983; Galeries nationales du Grand Palais, Paris, February 15-May 16, 1983, no. 7, as View of the Tiber at Rome.
City Views, The Nelson-Atkins Museum of Art, Kansas City, MO, May 31-July 10, 1983, no. 12, as View of the Tiber at Rome.
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 View of the Tiber at Rome.
Master Drawings from the Permanent Collection, The Nelson-Atkins Museum of Art, Kansas City, MO, February 17-March 25, 1990, no cat., as View of the Tiber at Rome.
Master Drawings from Polish Collections, The Nelson-Atkins Museum of Art, Kansas City, MO, April 17-June 6, 1993. NAMA addition.
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. 25, as View of the Tiber at Rome (recto); Studies of Legs (verso).
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 View of the Tiber at Rome (recto); Studies of Legs (verso).
Landscapes East/Landscapes West: Representing Nature from Mount Fuji to Canyon de Chelly, The Nelson-Atkins Museum of Art, Kansas City, MO, August 27, 2011-April 15, 2012, no cat., as View of the Tiber at Rome.
Dürer to Tiepolo: Works on Paper, The Nelson-Atkins Museum of Art, Kansas City, MO, December 12, 2012-June 9, 2013, no cat., as View of the Tiber at Rome.
Hugh Howard (1675-1737), London, by 1737;
To his brother Robert Howard, (1683-1740), Bishop of Elphin, Dublin, by 1740 [1];
To his son, Ralph Howard (1726/7-1789), 1st Viscount Wicklow, Dublin, April 3, 1740-1789 [2];
Possibly to his widow, Alice Howard (née Forward, 1736/7-1807), 1st Countess Wicklow, June 26, 1789-1807 [3];
To her son, Robert Howard (1757-1815), 2nd Earl of Wicklow, Dublin, March 7, 1807-1815;
To his brother, William Howard (1761-1818), 3rd Earl of Wicklow, Dublin, October 23, 1815-1818 [4];
To his son, William Howard (1788-1869), 4th Earl of Wicklow, Dublin, September 27, 1818-1869 [5];
To his nephew Charles Howard, 5th Earl of Wicklow (1839-1881), Dublin, March 22, 1869-1874;
Purchased at The Choice Collection of Rare Engravings and Drawings Formed by Hugh Howard at the Commencement of the Last Century; Many of Them from the Portfolios of the Earl of Arundel and Sir Peter Lely: Second Portion Comprising Two Hundred and Twenty Examples of the Etched Works of Rembrandt van Rhyn [sic], etc., sale, Sotheby, Wilkinson and Hodge, London, November 27-28, 1874, lot 35, as Landscape, a View across the Arno, from a mass of square shaped rocks in the foreground, on the summit of which two men are seen; the opposite bank of the river is studded with villas, with their gardens and shrubberies cultivated down to the edge of the stream; pen, washed with bistre, an exquisite example of the master, by Chadwick, 1874-at the latest 1932 [6];
Purchased at Catalogue of Old Master Drawings and Pictures Including…The Property of a Nobleman sale, Sotheby’s, London, December 14, 1932, lot 22, as View of Tiber at Rome with ledges of rock in the foreground, and a number of buildings among trees on the far side, through Harold Woodbury Parsons, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1932-today.
NOTES:
[1] Lugt 2957. Hugh Howard, an Irish-born portrait painter and collector, left his collection to his only surviving brother, Robert Howard, who moved to it to the seat of his peerage in Dublin.
[2] Ralph Howard inherited the family estate upon his father’s death on April 3, 1740. See H.C.G. Matthew and Brian Harrison, eds., Oxford Dictionary of National Biography, vol. 28, Hoopell-Hutcheson (Oxford, UK: Oxford University Press, 2004), 415.
[3] Alice Howard succeeded her husband as Countess of Wicklow in her own right on December 20, 1793. It is possible that she owned our drawing since we know it remained with the Earls of Warwick until 1874 and she had her husband’s title for several years. See H.C.G. Matthew and Brian Harrison, eds., Oxford Dictionary of National Biography, vol. 28, Hoopell-Hutcheson (Oxford, UK: Oxford University Press, 2004), 416.
[4] Robert Howard never married and had no children, so his titles passed to his younger brother, William Howard, upon his death in 1815. William Howard took his mother’s family name, Forward, in 1780, after succeeding to the Forward family’s estates. Upon succeeding his brother as 3rd Earl of Wicklow, he changed his last name back to Howard. See John Bernard Burke, A Genealogical and Heraldic Dictionary of the Peerage and Baronetage of the British Empire (London: H. Colburn, 1845).
[5] William Howard succeeded his father as 4th Earl of Wicklow on September 27, 1818. He married Lady Cecil Frances Hamilton on February 16, 1816. As they had no sons, his title passed to his nephew, Charles Howard.
[6] Charles Howard, 5th Earl of Wicklow, sold off the collection initially assembled by Hugh Howard. What he couldn’t sell to the British Museum in London, he sold off in two separate sales at Sotheby, Wilkinson and Hodge, from 1873-1874. Our picture was lot 35 in the second part of the sale from November 27-28, 1874.
Catalogue of the Choice Collection of Rare Engravings and Drawings Formed by Hugh Howard at the Commencement of the Last Century; Many of Them from the Portfolios of the Earl of Arundel and Sir Peter Lely: Second Portion Comprising Two Hundred and Twenty Examples of the Etched Works of Rembrandt van Rhyn [sic], etc. (London: Sotheby, Wilkinson and Hodge, November 27-28, 1874), unpaginated, as Landscape, a View across the Arno, from a mass of square shaped rocks in the foreground, on the summit of which two men are seen; the opposite bank of the river is studded with villas, with their gardens and shrubberies cultivated down to the edge of the stream; pen, washed with bistre, an exquisite example of the master.
Catalogue of Old Master Drawings and Pictures Including…The Property of a Nobleman (London: Sotheby’s, December 14, 1932), 6, (repro.), as View of Tiber at Rome with ledges of rock in the foreground, and a number of buildings among trees on the far side.
Tancred Borenius, “Rundschau: London‒Zwei Claude Lorrain-Zeichnungen,” Pantheon 6, no. 1 (January 1933): 36, 38, (repro.), as Uferzene am Tiber im Rom. Zeichnung.
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), 67, (repro.), as View of the Tiber at Rome.
Fourth Anniversary Exhibition: Drawings, exh. cat. (New London, CT: Lyman Allyn Museum, 1936), unpaginated, as View on the Tiber.
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), 93, 99, (repro.), as View of the Tiber at Rome.
Hans Tietze, European Master Drawings in the United States (New York: J.J. Augustin, 1947), 110, (repro.), as View of the Tiber at Rome.
Fiftieth Anniversary Exhibition of the Art of Europe during the XVIth-XVIIth Centuries, exh. cat. (Worcester, MA: Worcester Museum of Art, 1948), 37, as View of the Tiber at Rome.
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), 124, (repro.), as View of the Tiber at Rome.
Loan Exhibition of Old Master Drawings from Midwestern Museums, exh. cat. (Detroit: Detroit Institute of Arts, 1950), unpaginated, as View of the Tiber at Rome.
Regina L. Shoolman and Charles E. Slatkin, Six Centuries of French Master Drawings in America (New York: Oxford University Press, 1950), 26, (repro.), as View of the Tiber at Rome.
French Painting, 1100-1900, exh. cat. (Pittsburgh: Department of Fine Arts, Carnegie Institute, 1951), unpaginated, (repro.), as View of the Tiber at Rome.
The Changeful Earth: A Loan Exhibition of Paintings, Prints, and Drawings of Landscape from the 16th to the 18th Centuries, exh. cat. (Los Angeles: UCLA Art Council, 1955), unpaginated, as View of the Tiber River at Rome.
Elinor D. Anderberg, “The Picture on the Front Cover Is: View of the Tiber at Rome, Claude Gellée [Called Claude Lorrain] (French, 1600-1682),” Book-of-the-Month Club News (December 1957): 13, (repro.), as View of the Tiber at Rome.
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), 107, (repro.), as View of the Tiber at Rome.
Marcel Roethlisberger, Claude Lorrain: The Drawings, vol. 1, Catalog (Berkeley, CA: University of California Press, 1968), no. 101, p. 110, (repro.), as Banks of the Tiber.
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), 184, (repro.), as View of the Tiber at Rome.
H. Diane Russell. Claude Lorrain, 1600-1682, exh. cat. (Washington, D.C.: National Gallery of Art, 1982), 204, (repro.), as View of the Tiber at Rome.
Denys Sutton, “‘An Echo of Sweet Music’: The Claude Exhibition in Paris,” Apollo 117, no. 255 (May 1983): 400-01, (repro.), as View of the Tiber at Rome.
Ross E. Taggart and Roger B. Ward, City Views, exh. cat. (Kansas City, MO: The Nelson-Atkins Museum of Art, 1983), 10, 23, (repro.), as View of the Tiber at Rome.
Hilliard T. Goldfarb, From Fontainebleau to the Louvre: French Drawing from the Seventeenth Century, exh. cat. (Cleveland, OH: Cleveland Museum of Art, 1989), 64-65, (repro.), as View of the Tiber at Rome.
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, 11, 24, (repro.), as View of the Tiber at Rome.
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), 166, (repro.), as View of the Tiber at Rome.
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, 13, 97-99, 165, 209, (repro.), as View of the Tiber at Rome (recto); Studies of Legs (verso).
“August,” Newsletter (The Nelson-Atkins Museum of Art) (Summer 1998): 6, (repro.), as View of the Tiber at Rome.
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), 74, (repro.), as View of the Tiber at Rome.
Shelley Karen Perlove and George S. Keyes, eds., Seventeenth-Century European Drawings in Midwestern Collections: The Age of Bernini, Rembrandt, and Poussin (Notre Dame, IN: University of Notre Dame Press, 2015), (repro.).
