Theodore Coronio, London (acquired from the artist, 1865).
Galerie Georges Petit, Paris.
Gustave Tempelaere, Paris.
J. Allard, Paris.
Alfred Pacquement, Paris (by 1906).
F. and J. Tempelaere, Paris (after 1911).
Huinck & Scherjon Co., Amsterdam (1935).
C. Mes, Nijmegen (1935).
W.C.A. Huinck, Utrecht.
E.J. van Wisselingh & Co., Amsterdam (by 1965).
The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), London (1965).
M. Knoedler & Co., Inc., New York.
John D. Rockefeller III, New York (acquired from the above, 1965).
E.V. Thaw & Co., Inc., New York.
Acquired from the above by the late owner, 20 June 1977.
PROPERTY FROM THE ESTATE OF HANNAH LOCKE CARTER
A longtime supporter of the arts, Hannah Carter was known for her style, charm, and impeccable taste. Her two paintings offered in this catalogue reflect her appreciation of fine quality and artwork that lives well in a home. These works are among the best of their Impressionist genre.
Born Hannah Haydock Locke in Morristown, New Jersey, Mrs. Carter began her study and appreciation of art at the Low-Heywood School in Stamford, Connecticut. She had the good fortune to travel widely with her family in Europe and the Far East. Her father held a seat on the New York Stock Exchange. Her great grandmother Hannah Wharton Haydock (sister of Joseph Wharton, founder of the Wharton School at the University of Pennsylvania) was a leader in the Philadelphia Quaker community and instrumental in the founding of Swarthmore College, where she served on the Board of Managers for many years. Her great grandfather Nathaniel Parker Willis was a well-known author of his day as well as the founder of Town & Country magazine.
An accomplished skater and skier, Mrs. Carter was selected for the first U.S. women's Olympic ski team in 1936 at Garmisch Partenkirchen, Germany. After racing and touring in Europe, she returned to Idaho as Ambassador Averell Harriman's personal assistant during the opening of the Sun Valley ski resort. She retained her love of sport and travel well into her eighties including visits to Machu Picchu, the pyramids of Egypt, the Taj Mahal, and Nepal, as well as skiing at Sun Valley.
After the war, Mrs. Carter and her husband J. Emott Caldwell (of jewelers JE Caldwell and Co., Philadelphia) moved to California and raised a large family. With her second husband Edward W. Carter, Chairman and CEO of retailer Carter Hawley Hale, she became deeply involved with the nascent art institutions in Los Angeles. The Carters were founding members of the Los Angeles Music Center and the Los Angeles County Museum of Art (LACMA). They were involved in many other philanthropic activities and Mrs. Carter was frequently seen in the pages of Women's Wear Daily.
During this time, Mr. and Mrs. Carter assembled one of the finest private collections of 17th century Dutch paintings in their elegant home in Bel Air. During their lifetime they graciously allowed the collection to travel to various museum exhibits and opened their home to share their collection with a stream of appreciative visitors from around the world. The collection now resides at LACMA in the Carter Gallery. They donated their home and the attached world-class Japanese garden to neighboring UCLA, Mr. Carter's alma mater.
Mr. and Mrs. Carter treasured the only two non-Dutch paintings in their collection as the finest works by Fantin-Latour and Corot respectively. They hung them on an easel and wall in their bedroom where they could see them each morning when they awakened. Mrs. Carter chose a melon colored Fortuny fabric to complement the dark greens of the Corot and reflect the warm tones in the Fantin-Latour. These paintings were a constant joy for her and she never tired of showing them to friends and family.
"Fine Arts: Royal Academy," The Athenaeum, May 1866, p. 711.
P. Burty, "L'Exposition de la Royal-Academy," Gazette des
beaux-arts, July 1866, p. 94.
Mme. Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, p. 38, no. 277.
F. Gibson, The Art of Henri Fantin-Latour: His Life and Work, London, 1924, p. 125, pl. XXXVI (illustrated).
Connoisseur, October 1965, p. 31 (illustrated).
The Burlington Magazine, December 1976, p. 878.
London, Royal Academy, 98th Exhibition, 1866, no. 568.
Paris, Palais de l'école nationale des beaux-arts, Exposition de l'oeuvre de Fantin-Latour, 1906, no. 71.
London, The Lefevre Gallery, Fantin-Latour, 1934, no. 7.
Amsterdam, Huinck & Scherjon Co., Fantin-Latour, 1935, no. 12 (illustrated).
Amsterdam, E.J. van Wisselingh & Co., Maîtres français XIXe et XXe siècle: Tableaux particuliers néerlandais, May-June 1962, no. 17 (illustrated).
London, The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), 19th and 20th Century French Paintings, October-November 1965, no. 8 (illustrated).
London, The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), Alex Reid and Lefevre 1926-1976, 1976, pp. 44-45 (illustrated in color).
New York, The Metropolitan Museum of Art (on loan, August-November 1977).
Paris, Palais du Louvre; Ottawa, National Gallery of Canada and San Francisco, California Palace Legion of Honor, Fantin-Latour, November 1982-September 1983, pp. 124-126, no. 32 (illustrated, p. 125; illustrated again in color, p. 36).
Los Angeles County Museum of Art, Monet to Matisse: French Art in Southern California Collections, June-August 1991, p. 44 (illustrated in color).
Los Angeles, J. Paul Getty Museum (on extended loan, November 1997-November 1998).