Portrait of Augusta Princess of Wales, mother of George III, Seated, full length, in the grounds of Kew Palace, 1758

 

George Knapton (1698–1778)

Portrait of Augusta Princess of Wales, mother of George III, Seated, full length, in the grounds of Kew Palace, 1758

Signed and dated, middle right: G. Knapton 1758

Oil on canvas

181 x 141 cm

 

Provenance:

Probably commissioned by the sitter as a gift to her brother Frederick III, Duke of Saxe-Gotha-Altenburg (1699-1772)

Possibly by descent to the Dukes of Saxe-Coburg-Saalfeld who inherited the Gotha dukedom on the direct lines extinction in 1825, and possibly then to Prince Ferdinand of Saxe-Coburg and Gotha (1816-1885) who became King Fernando II of Portugal on his marriage to Maria II of Portugal

Possibly to Ferdinand’s morganatic 2nd wife, Elise Hensler, Countess of Edla (1836-1929)

Collection of Charles Harbord Lisbon by 1970. Harbord moved to Lisbon from England circa 1930.

Private collection Portugal

 

Exhibited:

Retratos Ingleses em Portugal, April –May 1970, Instituto Britânico Lisbon, No 15

 

This is an historically important painting in regards to the development of Kew Gardens as it is today. Princess Augusta was an integral part of the planning and funding of the change from being the Royal Palace Gardens into a public garden as well as a serious botanic garden to be enjoyed by the many thousands of people over the last few centuries. She is shown here seated in one of the many special alcove seats designed by William Chambers, the Architect responsible for the many designs throughout the gardens.

Kew Gardens, Princess Augusta & William Chambers

 

In 1752 Princess Augusta instructed her head gardener, John Dillman, to "compleat all that part of the Garden at Kew that is not yet finished in the manner proposed by the Plan and to keep all that is now finished". With the very able help of the Earl of Bute, the development of Kew as a serious botanic garden was well under way, driven by Bute's desire to have a garden which would " … contain all the plants known on Earth". Princess Augusta was, in effect, the founder of the botanic gardens at Kew.

Bute recommended William Chambers to Princess Augusta. Chambers was an ambitious young architect who had previously submitted plans for a projected mausoleum for her dead husband, and in 1757 Chambers was appointed tutor in architecture to the future George III, who came to the throne in 1760.

With the arrival of Chambers, a new design phase began, similar in intensity to Frederick's changes in the 1740s.Chambers' first acts in 1757 were to move the House of Confucius; to build the Gallery of Antiques; to remove the Chinese Arch; and to build the Palladian Bridge, reputedly in one night. Most of the follies were not built to last, being made out of flimsy materials, and the overnight building of follies is one of the legendary attributes of Kew Gardens.

In 1758 Chambers built the Alhambra; the Temple of Arethusa and the Temple of Pan. A number of garden alcoves designed by Chambers were also constructed in 1758. These were probably the first seats of this type to appear in the Gardens, and the basic design has been copied several times since. A possible Chambers alcove can be found near to the current Lion Gate, and later examples are located near the Isleworth Ferry Gate and the Brentford Gate.

1759 saw the construction of Johann Heinrich Muntz's Gothic Cathedral, along with Chambers' Temple of Victory.It is generally held that the Physic and Exotic Garden was begun in 1759, when "cultivating the Physic Garden" first appears in household accounts, and this is taken as the date of formal establishment of the Botanic Gardens.

The Ruined Arch, the Temples of Aeolus and Bellona, the Theatre of Augusta and the Chinese Ting in the centre of the Menagerie were all constructed in 1760. Chambers also designed an aviary next to Princess Augusta's Menagerie, an oval enclosure lined with cages for exotic pheasants and bigger birds, with a large pond for goldfish and more delicate waterfowl.

1761 was a similarly productive year, with construction starting on the Pagoda, and the building of the glasshouses of the Orangery and the Great Stove, together with the Temple of the Sun and the Mosque.These decorative buildings at Kew (the survivors are all Listed Buildings) represented all the fervent interest and excitement of knowledge newly gained in a widening world. China and the Islamic world were opening up, as evidenced by Chambers' delight in Chinoiserie. There was a revival of classicism brought about by the Grand Tour taken by 18th century gentry. This passion for the newly-discovered influenced the influential in the design and development of the Gardens at Kew. (1)

1. Taken from Kew History and Heritage at www.kew.org

 

PREVIOUSLY ON AUCTION AT

Cabral Moncada Leilões

Sale 149 Lot 625

€ 6 500

 

ON SALE AT

Theo Johns Fine Art

By Appointment Only

London, Central London, SW1Y

+44 (0) 207 1934549

$ 180 000

Cadaval's silver toilete set - Detroit Institute of Arts (EUA)

Cadaval's silver toilete set

Creator

Etienne Pollet (French, active 1715 - 1751) and others

Date

1738/1739

Credit

Founders Society Purchase, Elizabeth Parke Firestone Collection of Early French Silver Fund

Provenance
Probably commissioned ca. 1738 by Jaime de Mello, 3rd Duke of Cadaval of Portugal, or by Louis of Lorraine, prince de Lambesc, whose daughter Henriette married the Duke of Cadaval in May 1739; by descent, the family of the Dukes of Cadaval, Lisbon (until 1931); Jacques Helft (dealer), Paris; purchased in 1952 by Elizabeth and Harvey Firestone, Jr. for the Detroit Institute of Arts.

“UMA OBRA OUTRORA DESCONHECIDA DE KARL BRULLOW VEIO OCUPAR UM LUGAR CONDIGNO NA GALERIA TRETIAKOV”

Karl Pavlovich Briullov (1799 – 1852)
View of the fort at the peak of the island of Madeira

1849-1850

Oil on canvas
65 x 77
As with other watercolor, landscapes Brullov type bezlyuden. He keeps epic proportions,
despite the relatively small size. Scenery executed in a reddish-brown color characteristic of the
later works of the artist. Painter temperament expressed through expressive and dynamic
brushstroke. Bryullov uses favorite romantics effect of double coverage, comparing
rozoveyuschee sunset sky and clouds. State Tretyakov gallery, Russia

2004
“UMA OBRA OUTRORA DESCONHECIDA DE KARL BRULLOW VEIO OCUPAR UM LUGAR CONDIGNO NA GALERIA TRETIAKOV”

Galeria de Estado Tretiakov ficou enriquecida com uma obra-prima outrora desconhecida de Karl Brullow. O quadro “Uma Vista do Forte do Pico na Ilha da Madeira” veio ocupar um lugar condigno na exposição dessa pinacoteca. Essa tela ímpar foi adquirida por 225 mil euros com uma verba liberada pelo Fundo de Reserva da Presidência Federal da Rússia, tendo uma parte desse dinheiro sido oferecida pelo Ministério da Cultura. Nosso repórter Viktor Voronov assistiu à cerimónia de apresentação desse quadro.

Falando aos presentes, o director-geral da Galeria Tretiakov, Valentin Radionov, disse: - Até que enfim está concluída a surpreendente história deste quadro. Uma história ainda não registada nos anais da Galeria Tretiakov. História essa que contou com o apoio de muitas pessoas: desde um simples funcionário da nossa pinacoteca até o presidente da Federação da Rússia. Por toda a parte, em todos os níveis encontramos compreensão e a vontade de nos ajudar para que a tela retornasse para a terra pátria do grande pintor. O mais importante é que acaba de se consumar um fato histórico muito sério: uma obra até ultimamente desconhecida foi resgatada e voltou para a Galeria Tretiakov.

O quadro havia passado mais de 150 anos sem sair da ilha portuguesa da Madeira, onde o pintor russo foi se tratar em 1849-1850. A chegada de Karl Brullow para a Madeira não foi uma mera casualidade. Porque aquela ilha já então era famosa pelas suas estâncias balneares invernais e um clima ameno. A partir do Funchal, a cidade principal da ilha, se divisa nitidamente “o Forte do Pico”, construído no século XVI, uma vista que inspirou inúmeros pintores. Também Karl Brullow não podia faltar nesse rol de admiradores daquela velha fortificação. Não poupou cores brilhantes no esboço que ofereceu como presente ao seu médico Antônio Alves da Silva. Na biografia profissional do distinto retratista e pintor de cenas históricas, este é um exemplo quase único de interesse por uma paisagem natural.

Esta é a única paisagem “pura” até hoje conhecida de Karl Brullow, executada pelo artífice na técnica de pintura a óleo. O trabalho aparece numa tela de 65 por 67 centímetros. No quadro aparece a paisagem montanhosa da ilha da Madeira. O velho Forte do Pico erguesse sobre um fundo constituído por um relevo muito acidentado. O romântico motivo de iluminação dupla, com uma nuvem preta avançando para fechar um céu rosáceo do pôr-do-sol, é o que impressiona sobretudo nesse quadro feito numa tonalidade dourado-marrom e ginja-preto, caraterística de Karl Brullow.

Para adquirir o quadro e trazê-lo para Moscou, uma contribuição activa foi dada pelo Ministério dos Negócios Estrangeiros da Rússia, especialmente pelo pessoal da Embaixada russa em Portugal. Segundo o chanceler russo Igor Ivanov, “O retorno de uma obra do grande pintor russo para a terra pátria é um acontecimento histórico único, uma grande alegria para nós todos”. - Penso que, além de constituir um acontecimento milenário para a Galeria Tretiakov, onde repousará esta obra-prima da pintura russa, isso reflete as tradições gerais agora em progressão na Rússia – acentuou Igor Ivanov. – O País vai se firmando seguramente, recuperando seu poderio, do qual a cultura faz parte. Estou certo de que isto é apenas o início de grandes acontecimentos que irão se operando na nossa vida cultural.

Essa paisagem desconhecida havia sido descoberta na colecção particular da Senhora Margarida Lemos Gomes por Ielena Bekhtíeva, do pessoal científico da Galeria Tretiakov, que estuda o período português da obra desse pintor. - Acaba de se realizar um sonho de minha vida – narra Ielena Bekhtíeva. Finalmente, o quadro de Karli Brullow “Uma Vista do Forte do Pico na Ilha da Madeira”, descoberto no verão de 2000 naquela longínqua ilha portuguesa, está na Galeria Tretiakov. Agradeço aos nossos restauradores que deram provas do seu alto profissionalismo para prolongar a vida dessa tela e comunicaram o colorido original à paisagem de Karl Brullow. Graças ao apoio prestado por muitas pessoas envolvidas no processo que cumulou com o retorno do quadro de Karl Brullow para a Rússia, o prolongado “assédio” do Forte do Pico, que levara três anos, terminou com a vitória – comenta, sorridente, Ielena Bekhtieva. – Sim, porque é não somente uma vitória das artes russas, é um triunfo da nossa diplomacia russa. Por quando nesse “assédio” não houve vencidos, tudo terminou pacificamente, tendo essa “batalha” servido unicamente para estreitar as relações de amizade entre a Rússia e Portugal. E também Dona Margarida, a última dona do quadro de Karl Brullow, que de início não queria vir ao nosso País, finalmente prometeu visitar a Galeria Tretiakov em Maio próximo para se convencer de que o seu nome está gravado nos documentos da nossa pinacoteca, conforme lhe fora prometido.

Uma vez concluídos os trabalhos de restauração, essa obra de Karl Brullow doravante terá um lugar permanente no acervo da Galeria Estatal Tretiakov para abrir ao público mais uma faceta da obra desse grande pintor russo.

Copyright © The Voice of Russia, 2004

Jean Honoré Fragonard (French, 1732–1806)

Número de Inventário:00151 TC
Tipo de Espécime:Transparência a cores (TC)
Instituição / Proprietário:Museu Nacional de Arte Antiga
Número de Inventário do Objecto:1548 Pint
Categoria:Pintura
Denominação / Título:Duas Irmãs
Datação:Século XVIII [1760-1770]
Dimensões:A 31,7 x L 24 cm
Autoria / Produção:Jean Honoré Fragonard / Jean Honoré Fragonard / Francesa
Grupo Cultural:
Descritores:
Informação Técnica:Óleo sobre madeira de sucupira
Fotógrafo:José Pessoa, 1999
Copyright:© IMC / MC



Artist
Jean Honoré Fragonard (French, 1732–1806)

Title
The Two Sisters

Medium
Oil on canvas

Dimensions
28 1/4 x 22 in. (71.8 x 55.9 cm)

Credit Line
Gift of Julia A. Berwind, 1953

Accession Number
53.61.5

Gallery Label
The earliest description we have of the picture is from a 1785 sale catalog, where it is described as "two girls occupied with games suitable to their ages." The younger child is seated upon a hobby horse; the older pushes the horse, while holding its peach-colored lead rein. The painting, which has been cut down, dates to about 1770.

Notes
A preliminary oil sketch for this painting is in the Museu Nacional de Arte Antiga, Lisbon. The finished painting was copied in a pastel by the Abbé de Saint-Non (dated 1770; MMA 1977.383) and engraved by Gérard Vidal (1742–1801, MMA 53.674). All of these related works show the composition of the painting before it was cut down by an unknown owner at some point between 1906 and 1916; the original dimensions were 39 x 31 7/8 in., according to the Veri sale catalogue of 1785. In this catalogue the painting is described as representing two sisters; the engraving is inscribed "Les Jeunes Soeurs." In 1916, however, Gimpel & Wildenstein announced to the Parisian press that the painting showed Fragonard's daughter Rosalie (born 1769) and his young sister-in-law Marguerite Gérard (born 1761). If the date on the Saint-Non pastel is correctly read as 1770, there is no question that this identification is wrong. Even if, however, the date is read as 1779 (there is a dot below the zero that could be taken for the tail of a nine), the apparent age difference between the two girls is not nearly as great as that between Rosalie and Marguerite. In addition, the older girl bears no resemblance to the earliest known portrait of Marguerite, a sketch in the Musées de Besançon dating from about 1778–81 (ill. D. Wakefield, Fragonard, 1976, fig. 45.).

Provenance
Louis Gabriel de Véri Raionard, marquis de Véri, Paris (until d. 1785;
his estate sale, Hôtel de Bullion, Paris, December 12, 1785, no. 35, as "deux jeunes filles. . . ;
la plus petite est montée sur un cheval de carton porté par des roulettes," 37 x 30 pouces [39 1/2 x 32 in.], for 350 livres to Saint-Marc);
Jean Paul André Des Rasins, marquis de Saint-Marc, Paris (from 1785);
private collection, near Stockholm, Sweden (sold to Zarine);
A. Zarine, Consul General of Russia, Paris (until 1916;
sold to Gimpel & Wildenstein);
[Gimpel & Wildenstein, Paris, 1916–18; sold for $194,000 to Berwind];
Edward J. Berwind, New York (1918–d. 1936);
his sister, Julia A. Berwind, New York (1936–53)

Exhibition History
Kyoto Municipal Museum of Art. "Fragonard," May 24–June 29, 1980, no. 77.

Tokyo. National Museum of Western Art. "Fragonard," March 18–May 11, 1980, no. 77.

Paris. Galeries Nationales du Grand Palais. "Fragonard," September 24, 1987–January 4, 1988, no. 157.

New York. The Metropolitan Museum of Art. "Fragonard," February 2–May 8, 1988, no. 157.

References
Catalogue des tableaux des trois écoles . . . du cabinet de feu M le Marquis de Véri. Hôtel de Bullion, Paris. December 12, 1785, p. 24, no. 35.

Edmond de Goncourt and Jules de Goncourt. L'art du dix-huitième siècle. 2, 3rd ed. Paris, 1882, p. 374.

Baron Roger Portalis. Honoré Fragonard, sa vie et son oeuvre. Paris, 1889, pp. 63, 275, 329, no. 116 (Vidal's engraving, "Les Jeunes Soeurs"), ill. opp. p. 114 (1st state of engraving).

Edmond de Goncourt and Jules de Goncourt. L'art du dix-huitième siècle. definitive ed. Paris, 1906, vol. 3, p. 288.

Pierre de Nolhac. J.-H. Fragonard, 1732–1806. Paris, 1906, p. 131.

Georges Grappe. H. Fragonard: Peintre de l'amour au XVIIIe siècle. Paris, 1913, vol. 1, p. 120; vol. 2, p. 65, no. 31 (the engraving).

A. Damécourt. "Nos échos: Un Fragonard." Le cousin pons 1 (December 15, 1916), pp. 141–42, ill. (engraving).

"Dans les galeries d'art." New York Herald [Paris] (December 2, 1916), p. 4, col. 6.

"Discovered Fragonard." American Art News 15 (January 6, 1917), p. 5, ill. (engraving).

A. Damécourt. "A propos d'un Fragonard." Le cousin pons 2 (March 1, 1917), p. 182, ill. (engraving).

Briggs Davenport. "A Fragonard Rediscovered." American Art News 15 (March 17, 1917), p. 5.

L[ouis]. V[auxcelles]. "Art ancien: Un chef-d'oeuvre de Fragonard retrouvé." Le carnet des artistes no. 2 (February 15, 1917), pp. 9–11, ill. (showing canvas cut to its present size).

Louis Réau. L'art français aux États-Unis. Paris, 1926, p. 142.

Louis Réau. Fragonard, sa vie et son oeuvre. Brussels, 1956, pp. 167, 245–46.

Georges Wildenstein. "L'Abbé de Saint-Non, artiste et mécène." Gazette des beaux-arts, 6th ser., 54 (November 1959), p. 228.

Georges Wildenstein. The Paintings of Fragonard, Complete Edition. London, 1960, p. 305, no. 476, pl. 106.

Elizabeth E. Gardner. "Four French Paintings from the Berwind Collection." Metropolitan Museum of Art Bulletin 20 (May 1962), pp. 265, 268, fig. 6.

René Gimpel. Diary of an Art Dealer. English ed. New York, 1966, p. 33.

Gabriele Mandel in L'opera completa di Fragonard. Milan, 1972, p. 108, no. 501, ill.

Eunice Williams. Drawings by Fragonard in North American Collections. Exh. cat., National Gallery of Art. Washington, 1978, p. 136.

Mary Ann Wurth Harris. "The Abbé de Saint-Non and His Pastel Copy of a Painting by Fragonard." Apollo 110 (July 1979), pp. 57, 60–61, fig. 2.

Denys Sutton. Fragonard. Exh. cat., National Museum of Western Art. Tokyo, 1980, unpaginated, no. 77, ill. (color).

Jean-Pierre Cuzin. Jean-Honoré Fragonard: Vie et oeuvre, catalogue complet des peintures. Fribourg, Switzerland, 1987, pp. 127–28, 296–97, no. 195, ill. (in text and catalogue).

Pierre Rosenberg. Fragonard. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 332–34, no. 157, ill. in color.