Tonino Novaero

Possibly Lucas van Uffel (1586–1637), Venice, by 1627;

Prince Marcantonio II Borghese, 1st Prince of Sulmona (1601–1658), Palazzo Borghese, Rome, by 1651;

By descent to his grandson, Giovanni Battista Borghese, 2nd Prince of Sulmona (1639–1717), Palazzo Borghese, by 1693;

William Waldegrave, 1st Baron Radstock (1753–1825), Longford Castle, Wiltshire and Coleshill;

His posthumous sale, London, Christie's, 12 May 1826, lot 50, for £173–5 (as 'Titian', Titian and his Daughter);

Where acquired by William Buchanan (1777–1864), London;

From whom presumably acquired by James Morrison (1789–1857), 57 Upper Harley Street, London, by c. 1850–51;

Probably by inheritance to his widow, Mary Anne Morrison (d. 1887), 57 Upper Harley Street;

By descent to their son, Charles Morrison (1817–1909), Basildon Park, Berkshire;

By inheritance to his brother, Walter Morrison (1836–1921), Basildon Park;

Who settled the inheritance on his nephew, Col. James Archibald Morrison (1873–1934), Basildon Park (until the property was sold in 1929), by 1910;

By descent to his daughter, Mary Morrison (1902–1988), wife of Major John Henry Dent-Brocklehurst (1882–1949), Sudeley Castle, Winchcombe, Gloucestershire, by 1934;

By descent to their son, Geoffrey Mark Dent-Brocklehurst (1932–1972), Sudeley Castle;

Thence by inheritance.

London, Grosvenor Gallery, III National Loan Exhibition: pictures from the Basildon Park and Fonthill Collections, Winter 1914–15, no. 32 (as attributed to Titian, The artist conversing with a young woman).

J. Richardson Sr and J. Richardson Jr, An account of some of the statues, bas-reliefs, drawings and pictures in Italy, London 1722, p. 185 (as Titian and his Mistress);

Possibly G. Cadorin, Dello amore ai veneziani di Tiziano Vecellio delle sue case in Cadore e in Venezia e delle vite de' suoi figli, Venice 1833, pp. 57 and 79, n. 119 (as Titian, '...il pittore già invecchiato starsene tutto mesto ai piedi della incinta figliuola' (the painter, already aged, standing sadly at the feet of his pregnant daughter));

G.F. Waagen, Treasures of art in Great Britain: being an account of the chief collections of paintings, drawings, sculptures, illuminated mss., London 1854, vol. II, p. 261 (as Titian and workshop, 'The painter himself, with his innamorata');

G.F. Waagen, Galleries and cabinets of art in Great Britain: being an account of more than forty collections of paintings, drawings, sculptures, mss., London 1857, supplementary vol. IV, p. 110 (as Titian and workshop, 'The portrait of the painter with his mistress');

W. Cotton (ed.), Sir Joshua Reynolds' notes and observations on pictures, chiefly of the Venetian School, being extracts from his Italian sketchbooks, London 1858, p. 5 (as ''Titian and his Mistress'; the same as the print');

P. de Chennevières and A. de Montaiglon, 'Abecedario de P.J. Mariette et autres notes inédites de cet amateur sur les arts et les artistes: V', in Archives de l'art français, Paris 1858–59, vol. X, p. 329 (as Titian, 'Le Titien considerant sa maitresse' (Titian contemplating his mistress));

J.A. Crowe and G.B Cavalcaselle, The Life and times of Titian: with some account of his family, 2nd ed., London 1881, vol. II, pp. 138–39 (as a copy after Titian, 'the lady's interesting situation and Titian's gesture, [...] he presented anew [...] the form of his daughter');

Possibly L. Cust, A description of the sketch-book by Sir Anthony Van Dyck, used by him in Italy, 1621–1627, and preserved in the collection of the Duke of Devonshire, K.G., at Chatsworth, London 1902, p. 23, under no. 112a (as a lost painting by Titian, Titian and his mistress);

Possibly G. Gronau, Titian, London 1904, p. 231 (as Titian, 'Titian has his arm around Lavinia');

Possibly G. Lafenestre, La vie et l'œuvre de Titien, Paris 1909, p. 262 (as '...la composition allégorique de Titien et sa fille enceinte' (Titian's allegorical composition of his pregnant daughter));

III National Loan Exhibition: pictures from the Basildon Park and Fonthill Collections, exh. cat., London 1914, pp. 58–59, no. 32 (as attributed to Titian, The artist conversing with a young woman);

A. Hind, Van Dyck: his original etchings and his iconography, Boston 1915, p. 103 (as attributed to Titian, Titian and his mistress);

Possibly M. Vaes, 'Le séjour de Van Dyck en Italie', in Bulletin de l'Institute historique belge de Rome, 1924, pp. 180–81 (as '...du portrait du Titien avec sa fille' (Titian's portrait with his daughter));

Possibly M. Brunetti, 'Una figlia sconosciuta di Tiziano', in Rivista di Venezia, vol. XIV, no. 4, April 1935, pp. 178–82 (as a lost painting by Titian, Tiziano e la donna gravida (Titian and the pregnant woman));

Possibly L. Goldscheider, Five hundred self-portraits: from antique times to the present day, London 1937, p. 23 (as a lost painting by Titian, Self-portrait of Titian with his mistress);

Possibly G. Adriani, Anton Van Dyck: Italienisches Skizzenbuch, Vienna 1940, pp. 70–71, under 109a (as Titian, Tizian und seine Geliebte (Titian and his lover));

P. Della Pergola, 'L'Inventario Borghese del 1693 (III)', in Arte Antica e Moderna, vol. 30, April–June 1965, p. 204, no. 458 (as Titian, Titiano con l'Amorosa (Titian with his lover));

H. Wethey, The paintings of Titian, London 1971, vol. II, pp. 181–82, under no. X–102 (as a pastiche of around 1600, Titian's self-portrait with his mistress (so-called));

Possibly C. Brown, Van Dyck, Oxford 1982, p. 78 (as an early-seventeenth-century pastiche of Titian, '...purporting to be a portrait of Titian and his mistress');

C. Brown, 'Van Dyck's Collection: A Document Rediscovered', in RACAR: revue d'art canadienne, vol. 10, no. 1, 1983, p. 71 (as a painting of the composition attributed to Titian, ''Titian and his sweetheart' or 'Titian and his mistress'');

Possibly R. Pallucchini and F. Rossi, Giovanni Cariani, Milan 1983, p. 122, under no. 40 (as 'un supposto dipinto di Tiziano' (a supposed painting by Titian));

C. Brown, 'Van Dyck and Titian', in Bacchanals by Titian and Rubens: Papers given at a symposium in Nationalmuseum, Stockholm, March 18–19, 1987, G. Cavalli-Björkman (ed.), Stockholm 1987, pp. 157–58 (as '...a painting listed in the 1693 inventory of the Borghese collection as "Titian and his Mistress"');

J. Wood, 'Van Dyck's 'Cabinet de Titien': the contents and dispersal of his collection', in The Burlington Magazine, vol. CXXXII, no. 1051, October 1990, p. 689 (as lost; Titian or a pastiche, Titian and his mistress);

G. Luijten, in Anthony van Dyck as a printmaker, C. Depauw & G. Luijten (eds), exh. cat., Antwerp, Amsterdam and New York 1999, pp. 240 and 246, under no. 32 (as lost; Titian, Titian and his mistress);

Possibly M. Jaffé, The Devonshire Collection of Northern European Drawings, Turin 2002, vol. I, p. 118, under no. 1108 (as 'a painting seen by Van Dyck...', Titian and his beloved);

M. Wivel, in Passion, Wisdom and Violence: Titian & Venice, P. Joannides (ed.), exh. cat., London 2025, p. 153 (as a pastiche of Titian, Titian and his mistress).

ENGRAVED

Possibly Sir Anthony van Dyck (1599–1641), c. 1625;

Possibly Andries Pauli (1600–1639), c. 1630–39.