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Collecting Early Modern Art (1400-1800) in the U.S. South Collecting Early Modern Art (1400-1800) in the U.S. South Edited by Lisandra Estevez Collecting Early Modern Art (1400-1800) in the U.S. South Edited by Lisandra Estevez This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Lisandra Estevez and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6365-0 ISBN (13): 978-1-5275-6365-0 TABLE OF CONTENTS List of Illustrations .................................................................................... vii Notes on Contributors ................................................................................. xi Acknowledgements ................................................................................... xv Introduction .............................................................................................. xvi Lisandra Estevez Chapter One ................................................................................................. 1 Charles Mather Ffoulke and Larz Anderson: Dealing and Collecting Tapestries in the Gilded Age Denise M. Budd Chapter Two .............................................................................................. 23 Saul Among the Prophets: W.R. Valentiner, Robert L. Humber, Carl W. Hamilton, and the Italian Collection at the NCMA Lyle Humphrey Chapter Three ............................................................................................ 52 The Hanes Print Collections of Winston-Salem, North Carolina Lisandra Estevez Chapter Four .............................................................................................. 71 Old Masters for a Young Museum: How the Birmingham Museum of Art Became a Kress Collection Robert Schindler Chapter Five ............................................................................................ 102 A Gateway to the Americas: The Spanish Colonial Collection at the New Orleans Museum of Art Lucia Abramovich vi Table of Contents Chapter Six .............................................................................................. 120 The Early Modern Italian Influence on New Orleans’ Art Collections Alexis Culotta Chapter Seven .......................................................................................... 143 The Baroque Art of New Spain at the New Orleans World’s Industrial and Cotton Centennial Exposition, 1884-1885 Sandra Pauly Chapter Eight ........................................................................................... 158 Where Art and Nature Play: The Sarah Campbell Blaffer Foundation Curiosity Cabinet James Clifton Chapter Nine ............................................................................................ 184 The Thompson-Cromwell Portfolio of Prints by Giovanni Piranesi in the Collection of the University of Arkansas at Little Rock Department of Art and Design Floyd W. Martin Major Public Collections of Early Modern Art in the U.S. South .......... 205 (in alphabetical order by city) LIST OF ILLUSTRATIONS Figure 1-1: Portrait of Charles Mather Ffoulke. Courtesy of Olivier Havenith. Figure 1-2: Philip A. de László, Portrait of Ambassador and Mrs. Larz Anderson, March 1926. Washington, D.C., Anderson House. Reproduced by permission of The Society of the Cincinnati, Washington, D.C. Figure 1-3: Photograph keyed to Larz Anderson, Inventory, 1911, showing the Diana Tapestries in the dining room. Reproduced by permission of The Society of the Cincinnati, Washington, D.C. Figure 1-4: French Drawing Room, view of north and east walls showing Gambara Tapestries. Reproduced by permission of The Society of the Cincinnati, Washington, D.C. Figure 1-5: Olmstead Gallery, view from the west showing the Diana Tapestries. Reproduced by permission of The Society of the Cincinnati, Washington, D.C. Figure 2-1: Robert Lee Humber and Carl W. Hamilton in the galleries of the North Carolina Museum of Art around the time of the museum’s opening in April 1956. Photo: Robert W. Kelley, courtesy of Getty Images, The LIFE Picture Collection. Figure 2-2: W. R. Valentiner at the North Carolina Museum of Art in 1957. The object in the background is a panel from a Coptic tunic of the 5th to 6th century donated by Katherine Pendleton Arrington, president of the North Carolina State Art Society 1926-1955 (52.1.3) and transferred to N. C. State University, Raleigh in 1991 (now in the Gregg Museum of Art and Design at N. C. State University). Photo: Gus Martin. Figure 2-3: Lucchese painter (workshop of Berlinghiero di Melanese), The Virgin and Child Hodegetria circa 1225-50, tempera and gold leaf on panel, North Carolina Museum of Art, Gift of Wachovia Bank and Trust Company (57.16.1). Photo courtesy of the North Carolina Museum of Art. Figure 2-4: Attributed to Cristoforo Mantegazza, The Entombment of Christ with Donor Portraits, ca. 1480, marble, North Carolina Museum of Art, Purchased with Funds from the Special Gift Fund (58.4.17). Photo courtesy of the North Carolina Museum of Art. viii List of Illustrations Figure 2-5: Giovanni Antonio Boltraffio, Portrait of a Young Woman Wearing a Floral Garland, ca. 1495-99, oil on panel, Raleigh, North Carolina Museum of Art, Gift of the Samuel H. Kress Foundation (60.17.40). Photo courtesy of the North Carolina Museum of Art. Figure 3-1: Hans Sebald Beham, The Prodigal Son, 1538, engraving. Hanes Gift, 003.1991, Courtesy of the Salem Academy and College Archives. Figure 3-2: Jacob Matham after Hendrick Goltzius, Allegories of the Four Seasons, 1589, engraving. Hanes Gift, 001a-d, 1990, Courtesy of the Salem Academy and College Archives. Figure 3-3: Rembrandt van Rijn, Christ Driving the Money Changers from the Temple, 1635, engraving. Hanes Gift, 005.1990, Courtesy of the Salem Academy and College Archives. Figure 3-4: Jusepe de Ribera, Penitent Saint Peter, 1621, etching and engraving. Hanes Gift, Ribera. 1621. PC.0098.1988. Courtesy of Diggs Gallery Permanent Collection. Figure 3-5: Salvator Rosa, Jason and the Dragon, 1663-64, etching and drypoint. Hanes Gift, 1664.02.PC.0100.1988. Courtesy of Diggs Gallery Permanent Collection. Figure 4-1: Installation of the Kress exhibition at the Birmingham Public Library, 1933. Photo: BMA, Collection Files, Kress Collection. Figure 4-2: Installation of the Kress Collection at the Birmingham Museum of Art in City Hall, 1952. Photo: BMA, Collection Files, Kress Collection, City Hall 1951.1959. Figure 4-3: The Oscar Wells Memorial Building of the Birmingham Museum of Art, 1959. Photo: BMA, Collection Files, Kress Collection, Museum Opening, 1959. Figure 4-4: Installation of the Kress Collection in the Oscar Wells Memorial Building of the Birmingham Museum of Art, c. 1959. Photo: BMA, Collection Files, Kress Collection, Gallery Shots, 1960. Figure 4-5: The reception at the National Gallery of Art, Washington, D.C. for the presentation of the deeds of gift to the Kress regional galleries. From right to left: Richard F. Howard; his wife Helen Boswell; Rush H. Kress; his wife Virginia Kress; and two unknown guests, 1961. Photo: BMA, Collection Files, Kress Collection, National Gallery of Art. Figure 5-1: Unidentified Artist, Cuzco School. Saint Jerome Writing the Vulgate, seventeenth century. New Orleans Museum of Art, Gift of John J. Cunningham, 51.60. Collecting Early Modern Art (1400-1800) in the U.S. South ix Figure 5-2: Edith Rosenwald Stern in her Drawing Room, 1968; Life Magazine “Grand Dames who Grace America,” black and white photograph. Longue Vue House and Gardens Archive. Figure 5-3: Unidentified Artist, Cuzco School, The Return from Egypt, early eighteenth century. New Orleans Museum of Art: Museum purchase and gift of Mr. and Mrs. Arthur Q. Davis and the Stern Fund, 74.255. This painting formed part of the Stern/Davis collection acquired by NOMA in 1974, and was featured on the cover of the catalogue for the exhibition “Peruvian Colonial Painting.” Figure 5-4: Unidentified Artist, Cuzco School, Archangel Michael Triumphant, seventeenth century. New Orleans Museum of Art: Museum purchase and gift of Mr. and Mrs. Arthur Q. Davis and the Stern Fund, 74.279 Figure 6-1: Main façade of the New Orleans Museum of Art, New Orleans, Louisiana. Source: author’s image, 2017. Figure 6-2: Charles L. Franck Studio, “Interior view of the Isaac Delgado Museum of Art, City Park.” Photography from a negative dated 29 October 1941; printed between 1979 and 1983. Source: Charles L. Franck/Franck. Bertacci Photographers Collection, The Historic New Orleans Collection, 1979.325.5807. Figure 6-3: Attributed to Giovanni del Biondo, Madonna Nursing Her Child, circa 1370. 162.55 by 88.9 centimeters (framed). Tempera and gold leaf on panel. Source: The New Orleans Museum of Art: The Samuel H. Kress, 31.1. Figure 6-4: Charles Franck Studio, “Isaac Delgado Museum of Art, display of Leonardo da Vinci drawings.” Photography from a negative dated 24 February 1953; printed between 1979 and 1983. Source: Charles L. Franck/Franck.Bertacci Photographers Collection, The Historic New Orleans Collection, 1979.325.2574. Figure 6-5: Lorenzo Lotto, Portrait of a Bearded Man, c. 1540. 97.8 by 85.1 cm. Oil on canvas.

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