Provenance Research

Follower of Annibale Carracci (1560-1609)
France or Italy (?)
Clytie, 1630s or 1640s
Oil and possibly tempera on round wooden panel
17 3/4 in. (45.1 cm) diameter
Gift of the Duke and Duchess of Talleyrand-Perigord, 1952.199

Description:
Tondo depicting a seated woman reaching out to touch the hand of Cupid. She holds a sunflower, and the cherub holds a torch.

Former Attributions:
Bellini (possibly)
Annibale Carracci [1560-1609]
François Perrier [1594-1649]

Alternate Title:
Woman and Cupid

Provenance:

1772-1800:   John Strange, London, sold at Strange sale, Christie's, London, March 18, 1800, lot 69, sold to [1]
     
March 1800-?:   Barnard
     
By at least 1828-1848:   William Wells, London, sold at Wells sale, Christie's, London, May 12, 1848, lot 48, to
     
May 12, 1848-1870:   Richard Seymour-Conway, the 4th Marquess of Hertford [1800-1870], Hertford House, Manchester Square, London, by descent to
     
1848-1897:   Richard Wallace [later Sir Richard, 1818-1890], Hertford House, Manchester Square, London and possibly Paris, by descent to
     
1890-1897:   Lady Wallace, probably Paris, possibly by bequest to
     
Possibly 1897-possibly 1912:   Sir John Murray Scott [1847-1912], London [2]
     
?-1952:   Paris art market, sold to
     
1952:   Duke and Duchess of Talleyrand-Perigord, Paris, given to
     
1952-present:   Cincinnati Art Museum


Notes:
[1] The painting went unsold in two earlier sales of John Strange's collection: private sale, 125 Pall Mall, London, December 10, 1789, (and following days), lot 225; private sale, European Museum, London, May 27, 1799, (and following days), lot 252. In all of the sales the painting was listed as by Annibale Carracci.

[2] Sir John Murray Scott was the secretary to Lady Wallace. She bequeathed to him the objects in the Wallace collection that were held in Paris, at either the apartment on rue Laffitte or at Bagatelle. Included in Sir John Murray Scott's 1903 inventory is a painting by Bellini, "Woman and Cupid," which may be a reference to the CAM's tondo. See John T. Spike, Italian Paintings in the Cincinnati Art Museum, 1993, pp. 30-31.

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