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National Gallery of Art - THE COLLECTION
image of The Baptism of Christ
Nicolas Poussin (artist)
French, 1594 - 1665
The Baptism of Christ, 1641/1642
oil on canvas
Overall: 95.5 x 121 cm (37 5/8 x 47 5/8 in.) framed: 123.8 x 149.9 x 14 cm (48 3/4 x 59 x 5 1/2 in.)
Samuel H. Kress Collection
1946.7.14
From the Tour: Seventeenth-Century French Painting
Object 7 of 8

Provenance

Commissioned by Cavaliere Cassiano dal Pozzo [d. 1657], Rome; by inheritance to his brother, Carlo Antonio dal Pozzo [d. 1689], Rome; by inheritance to his son, Gabriele dal Pozzo [d. 1695], Rome; by inheritance to his son, Cosimo Antonio dal Pozzo [died c. 1739], Rome; pledged by Pozzo to Marchese del Bufalo, Rome, as payment for debt [Bufalo offered his set of Poussin's Seven Sacraments to King Louis XV of France in 1729 when Bufalo ran into financial difficulties]; returned to Cosimo Antonio dal Pozzo, Rome, when debt paid, in either February 1730 or February 1732;[1] by inheritance to his daughter Maria Laura dal Pozzo Boccapaduli; by inheritance to the Boccapaduli family, Rome, who attempted to sell the series to Sir Robert Walpole [d. 1745], but export license was denied by the Pope; sold 1785 for the Boccapaduli family by (James Byres, Rome)[2] to Charles Manners, 4th duke of Rutland [1754-1787], Belvoir Castle, Grantham, Leicestershire; by inheritance to his son, John Henry Manners, 5th duke of Rutland [1778-1857], Belvoir Castle; by inheritance to his son, Charles Cecil John Manners, 6th duke of Rutland [1815-1888], Belvoir Castle; by inheritance to his son, John James Robert Manners, 7th duke of Rutland [1818-1906], Belvoir Castle; by inheritance to his son, Henry John Brinsley Manners, 8th duke of Rutland [1852-1925], Belvoir Castle; by inheritance to his son, John Henry Montagu Manners, 9th duke of Rutland [1886-1940], Belvoir Castle; sold c. 1939 to (Wildenstein & Co., Inc., Paris, New York, and London); sold 1944 to the Samuel H. Kress Foundation, New York; gift 1946 to NGA.

[1] The painting was recorded as being in the Palazzo Doria-Pamphili in 1733 and in 1739, but must have still been owned by Pozzo, as it passed to his daughter at his death.

[2] Byres arranged for copies to be substituted for the originals in Rome so that the originals could be smuggled out of Italy.

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