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Marks and Labels
The artist's studio; acquired c. 1823 by Charles William Stewart (later Vane), 3rd marquess of Londonderry [1778-1854], Londonderry House, London; by inheritance to his son, Frederick William Robert Vane, 4th marquess of Londonderry [1805-1872], Londonderry House; by inheritance to his half-brother, George Henry Robert Charles William Vane-Tempest, 5th marquess of Londonderry [1821-1884], Londonderry House; by inheritance to his son, Charles Stewart Vane-Tempest-Stewart, 6th marquess of Londonderry [1852-1915]; by inheritance to his son, Charles Stewart Henry Vane-Tempest-Stewart, 7th marquess of Londonderry [1878-1949], Londonderry House; his estate; (sale, Sotheby's, London, 16 November 1962, no. 34); purchased by M. Comer for Lillian R. Berkman [Mrs. Jack N. Berkman, formerly Mrs. Marc B. Rojtman, 1922-2001], New York; her estate; bequest 2003 to NGA.
- Phillips, John Goldsmith. “Canova’s Reclining Naiad.”Metropolitan Museum Bulletin 29 (Summer 1970): 1-10, esp. 9-10.
- Bassi, Elena. Antonio Canova a Possagno. Catalogo delle opera. Guida alla visita della Gipsoteca, Casa e Tempio. Treviso, 1972:99, mistakenly assuming that the version made for Lord Darnley, now at the Metropolitan Museum of Art, is identical with the present version, acquired from Canova’s studio by the Marquess of Londonderry.
- Pavanello, Giuseppe, and Mario Praz. L'opera completa di Canova. Milan, 1976: 126, no. 279, mistakenly assuming that the version made for Lord Darnley, now at the Metropolitan Museum of Art, is identical with the present version, acquired from Canova’s studio by the Marquess of Londonderry.
- Gopnik, Blake. "A Very Full Week at the National Gallery: Five Full Days of Permanent Pleasure." The Washington Post (December 27, 2004): C1, C2, repro.