File:Antoine Watteau - The Italian Comedians - Google Art Project.jpg
[1] See Robert Raines, "Watteau and 'Watteaus' in England before 1760," Gazette des Beaux Arts 51 (February 1977): 62, for a discussion of which Beckford might have purchased the painting. William was his brother Richard's heir, and although William always resided in England, Richard lived mostly on the family's plantations in Jamaica. He only lived in London from late 1754 until late the next year, and he died in France early in 1756. If Richard owned the painting, it might possibly have been part of the "useful and ornamental furnishings" of his London house that were sold by his executors in April 1756 to Sir James Colebrooke, whose name is sometimes included in the provenance. See F.H.W. Sheppard, Survey of London, vol. 33, The Parish of St. Anne Soho, London, 1966: 89, for details about ownership of the house by Beckford
and subsequent purchasers.
[2] Sometimes spelled "Harene." The title page of the 1764 sale catalogue clearly spells the name with a final "c." If this is the same Roger Harenc whose daughter, Susanna Mary Harenc, married Sir Archibald Edmonstone, 1st baronet Edmonstone, Harenc appears to have been born in Paris, came to England in the early 1720s, married an Englishwoman, and prospered in business. He is recorded as the buyer of Watteau paintings in sales in England in the 1740s and 1750s.
[3] Gustav Friedrich Waagen, Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Manuscripts, 3 vols. and Supplement, London, 1854 and 1957: Supplement(1957): 96 97, records acquisitions to the Baring collection since his visit in 1851.
[4] See Richard Kingzett of Agnew, letter to Colin Eisler, 21 November 1968, NGA curatorial files: "[W]e bought the picture from the famous dealer, Wertheimer, in 1888 and sold it to Lord Iveagh in the same year. No provenance is given in our entry for the picture." Later references identify the Wertheimer as Asher, rather than his brother Charles, who was also an art dealer.
[5] Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 304 and n. 48, on the basis of a remark in René Gimpel, Journal d'un collectionneur, marchand de tableaux, Paris, 1963: 275, assumes the painting was with Wildenstein in 1924. However, this is discounted by Joseph Baillio of Wildenstein (see A Gift to America: Masterpieces of European Painting from the Samuel H. Kress Collection, Exh. cat. North Carolina Museum of Art; The Museum of Fine Arts, Houston; The Seattle Art Museum; Fine Arts Museums of San Francisco; New York, 1994: 210 n. 3). The provenance supplied by Wildenstein to the Kress Foundation (NGA curatorial files) incorrectly lists Walter Guinness and Lord Moyne as separate individuals and places the Thyssen Bornemisza ownership between them, but it does not indicate the company had the painting more than once.
Licensing
|
This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details. | ||||
