The Triumph of Bacchus
The Art Treasures of the United Kingdom, Manchester, England, May 5-October 17, 1857, no. 598, as Triumph of Bacchus.
Le paysage français de Poussin à Corot, Petit Palais, Paris, May-June 1925, no. P271, as Le triomphe de Bacchus.
Durlacher Brothers, New York, March 12-April 6, 1940, no. 5, as The Triumph of Bacchus.
Masterpieces of Art: Exhibition at the New York World’s Fair 1940, Masterpieces of Art pavilion, Flushing Meadow Park, Queens, New York, May-October, 1940, no. 60, as The Triumph of Bacchus.
An Exhibition of Great Paintings in Aid of the Canadian Red Cross and of Small Pictures by Members of the Ontario Society of Artists, The Art Gallery of Toronto, November 15-December 15, 1940, no. 31, as Triumph of Bacchus.
Venetian Tradition, The Cleveland Museum of Art, November 9, 1956-January 1, 1957, no. 33, as The Triumph of Bacchus.
Trends in Paintings, 1600-1800, Albright Art Gallery, Buffalo, NY, October 2-November 3, 1957, unnumbered, as Triumph of Bacchus.
Twenty-Fifth Anniversary Exhibition, The Nelson-Atkins Museum of Art, Kansas City, MO, December 1958, hors cat.
Nicolas Poussin, 1594-1665, The Toledo Museum of Art, Toledo, OH, January 4-February 2, 1959, The Minneapolis Institute of Arts, February 11-March 10, 1959, unnumbered.
Anatomy and Art, The Nelson-Atkins Museum of Art, Kansas City, MO, May 8-June 5, 1960, no. 90, as Triumph of Bacchus.
Nicolas Poussin, 1594-1665, Villa Medici, Rome, November 1977-January 1978, no. 22, as Le triomphe de Bacchus, Städtische Kunsthalle Düsseldorf, January 27-March 12, 1978, no. 21, as Der Triumph des Bacchus.
Poussin Sacraments and Bacchanals: Paintings and Drawings on Sacred and Profane Themes by Nicolas Poussin 1594-1665, National Gallery of Scotland, Edinburgh, October 16-December 13, 1981, no. 24, as The Triumph of Bacchus.
Poussin: The Early Years in Rome: The Origins of French Classicism, Kimbell Art Museum, Fort Worth, TX, September 24-November 27, 1988, hors cat.
Richelieu: Art and Power, The Montreal Museum of Fine Arts, September 18, 2002-January 5, 2003, Wallraf-Richartz-Museum, Cologne, January 31-April 20, 2003, no. 126, as The Triumph of Bacchus.
Richelieu à Richelieu: architecture et décors d’un château disparu, Musée des Beaux-Arts d’Orléans, Musée municipal de Richelieu, France, Musée des Beaux-Arts de Tours, March 12-June 13, 2011, no. 125 (Tours only), as Le Triomphe de Bacchus.
Poussin and the Dance, National Gallery, London, October 9, 2021–January 2, 2022; J. Paul Getty Museum at the Getty Center, Los Angeles, February 15–May 8, 2022.
Commissioned by Armand Jean du Plessis, Cardinal Richelieu (1585–1642), Château de Richelieu, Poitou, by May 19, 1636–1642;
By descent to his great-nephew, Armand Jean de Vignerot du Plessis, 2nd duc de Richelieu (1629–1715), Château de Richelieu, Poitou, 1642–1715;
By descent to his son, Louis François Armand de Vignerot du Plessis, 3rd duc de Richelieu, maréchal de France (1696–1788), Château de Richelieu, Poitou, 1715;
To his wife, Élizabeth Sophie de Lorraine-Harcourt, 3rd duchesse de Richelieu (1710–1740), Château de Richelieu, Poitou, between 1734 and 1740 [1];
With Samuel Paris (active 1730s–1740s), London, by 1741 [2];
Purchased from Paris’s sale in London, 1741/1742, lot 48, as The Triumph of Bacchus, by Peter Delmé (1710–1770), Grosvenor Square, London, 1741/1742–no later than 1770 [3];
By descent to his son, Peter Delmé (1748–1789), by 1770–1789;
Purchased from Delmé’s posthumous sale, A Catalogue of a Capital, Valuable, and Well-Chosen Collection of Italian, French, Flemish and Dutch Pictures, by the Most Esteemed Masters, the Whole in the Highest Preservation: Amongst the Above Are Two Most Celebrated and Noble Pictures by Nicolas Poussin, One Representing “The Triumph of Bacchus,” the Other “The Sacrifice to the God of Pan;” Ever Esteemed The Most Capital of His Works; Also a Superbe [sic] and Beautiful Landscape by Claude Lorraine, Christie, London, February 13, 1790, lot 63, as The Triumph of Bacchus, by John Ashburnham, 2nd Earl of Ashburnham (1724–1812), Ashburnham Place, Battle, Sussex, 1790–1812;
Probably by descent to George Ashburnham, 3rd Earl of Ashburnham (1760–1830), Ashburnham Place, Battle, Sussex, 1812–1830 [4];
By descent to his son, Bertram Ashburnham, 4th Earl of Ashburnham (1797–1878), Ashburnham Place, Battle, Sussex, by July 20, 1850;
Purchased from Ashburnham’s sale, Catalogue of the Entire and Valuable collection of Italian, Flemish, Dutch, and French Pictures, the Property of the Earl of Ashburnham, Christie and Manson, London, July 20, 1850, lot 63, as The Triumph of Bacchus, by George William Frederick Howard, 7th Earl of Carlisle (1802–1864), Castle Howard, York, 1850–1864;
Inherited by his younger brother, Reverend William George Howard, 8th Earl of Carlisle (1808–1889), Castle Howard, York, 1864–1889;
By descent to his nephew, George James Howard, 9th Earl of Carlisle (1843–1911), Castle Howard, York, 1889–1911;
Inherited by his widow, Rosalind Frances Howard, Countess of Carlisle (née Stanley, 1845–1921), Castle Howard, York, 1911–1921;
By descent to her son, the Honorable Geoffrey William Algernon Howard (1877–1935), Castle Howard, York, 1921–1931;
Purchased from Howard, through Georgiana Isabella Blois (née Frances, 1888–1967), London, by The Nelson-Atkins Museum of Art, Kansas City, MO, July 30, 1931.
Notes
[1] The painting appears in the duchesse’s posthumous inventory, dated June 23, 1741. She and her husband were married in 1734.
[2] In a notebook entry from 1741, George Vertue mentions that several pictures by Poussin were “lately” “[b]rought over from Paris” to London, and that he saw “with great pleasure” the Triumph of Bacchus that year. See “Vertue’s Note Book, B. 4,” in “Vertue Note Books: Volume III,” special issue, Walpole Society 22 (1933–1934): 105.
[3] According to the handwritten manuscript of Richard Houlditch Jr., dated circa 1760, The Triumph of Bacchus was sold as lot 48 to Peter Delmé on the second day of Samuel Paris’s sale, which took place in “1741/2.” See “[Mr. Paris’s Sale of Pictures, 1741/2,] 2nd Day’s Sale,” ca. 1760, Sales Catalogues of the Principal Collections of Pictures (One Hundred and Seventy One in Number) Sold by Auction in England within the Years 1711–1759, the Greater Part of Them with the Prices and Names of Purchasers, vol. 1, p. 112, manuscript MSL/1938/867–868, National Art Library, Victoria and Albert Museum, London.
[4] In the Last Will and Testament of John Ashburnham, 2nd Earl of Ashburnham, he leaves the remainder of his real estate and personal estate to his son, George, Lord Viscount Saint Asaph, which probably included the painting. See “Will of the Right Honorable John Earl of Ashburnham,” The National Archives, Kew, PROB 11/1534/95. Thanks to Brian Phillips, Research Assistant, The Keep, Woollards Way, Brighton, for his assistance in locating this will. George was a Trustee of the British Museum, London, beginning in 1810.
Musée de la Ville de Béziers: Catalogue des Peintures, Aquarelles, Dessins, Sculptures, Objets d’art, etc., 7th ed. (Béziers: A. Bouineau, n. d.), 45.
Pompeo Frangipani to Cardinal Richelieu, May 19, 1636, Correspondance politique, Rome (1636), microfilm P 7511, vol. 57, folio 171, Archives du Ministère des Affaires Étrangères, La Corneuve, France.
Gaspard de Daillon to Cardinal Richelieu, 1636-37, Mémoires et documents, France, microfilm P 3730, vol. 826, folio 88, Archives du Ministère des Affaires Étrangères, La Corneuve, France.
Willem Schellinks, entry on Richelieu, July 20, 1646, “Dagh-register wegens onse Reysze in en door Vrankryck, Engeland, Italien en Duitschland, 1646-65,” manuscript NKS 370 4o, vol. 1, fol. 25, Det Kongelige Bibliotek, Copenhagen, Denmark.
[Jean] Desmarests [de Saint-Sorlin], Les Promenades de Richelieu, ou les Vertus Chrestiennes (Paris: Henry Le Gras, 1653), 58.
Jean Marot, Le Magnifique Chasteau de Richelieu, en Général et en Particulier, ou les Plans, les Élévations, et Profils Généraux et Particuliers dudit Chasteau, Et de ses Avenuës, Basses-courts, Anti-courts, Courts, Corps de logis, Aisles, Galleries, Escuries, Maneges, Jardins, Bois, Parc, et généralement de tous ses Appartemens (Paris, ca. 1660), unpaginated.
Willem Schellinks, entry on Richelieu, July 12, 1663, “Dagh-register wegens onse Reysze in en door Vrankryck, Engeland, Italien en Duitschland, 1646-65,” manuscript NKS 370 4o, vol. 2, fol. 371, Det Kongelige Bibliotek, Copenhagen, Denmark.
Jean de La Fontaine to Madame de La Fontaine, September 12, 1663, Manuscrits de Conrart, no 5132, p. 123-139, Bibliothèque de l’Arsenal, Paris [repr. in (Louis Jean Nicolas) de Monmerqué, Opuscules Inédits de Jean de La Fontaine (Paris: J. J. Blaise, 1820), 28, 28n1].
Paul Fréart de Chantelou, “Journal du Voyage du Cavalier Bernin,” 1665, manuscript 2105, Bibliothèque de l’Institut, Paris [repr. in (Paul Fréart) de Chantelou, “Journal du Voyage du Cavalier Bernin,” ed. Ludovic Lalanne, Gazette des Beaux-Arts 16 (1877): 176].
Gio[vanni] Pietro Bellori, Le Vite de’ Pittori, Scultori e Architetti Moderni, part 1 (Rome: Mascardi, 1672), 423.
Filippo Baldinucci, Notizie dei Professori del Disegno da Cimabue in quà: per le Quali si Dimostra Come, e per chi le Belle Arti di Pittura, Scultura e Architettura, Lasciata la Rozzezza delle Maniere Greca e Gotica, si Siano in Questi Secoli Ridotte all’Antica loro Perfezione (1681-1728; repr., Florence: V. Batelli, 1846), 4: 704.
[Benjamin] Vignier, Le Chasteau de Richelieu, ou l’Histoire des Dieux et des Héros de l’Antiquité, Avec des Réfléxions [sic] morales, 2nd ed. (Saumur: Henry Desbordes, 1681), 63, as Triomphe de Bacchus.
André Félibien, Entretiens sur les Vies et sur les Ouvrages des Plus Excellents Peintres Anciens et Modernes, vol. 4 (1685; repr., Geneva: Minkoff, 1972), 265.
Louis-Henri de Loménie, “Discours sur les ouvrages des plus excellens peintres anciens et nouveaux avec un traité de la peinture composé et imaginé par Mre L.H. de L.C. de B. Reclus,” ca. 1695, manuscrit anc. Saint-Germain 16986, col. 196, Manuscrits occidentaux, Bibliothèque nationale de France, Paris.
Florent Le Comte, Cabinet des Singlularitez d’Architecture, Peinture, Sculpture, et Gravure. Ou Introduction à la Connoissance des plus beaux Arts, figurez sous les Tableaux, les Statuës, et les Estampes (1700; repr., Geneva: Minkoff, 1972), 276.
[Jean-Michel Le Chanteur], “Inventaire après le décès de Madame la Duchesse de Richelieu,” January 23, 1741, étude LXXXIX, cote 470, folio 9 recto, Minutier central des notaires de Paris, Archives nationales, Paris.
“[Mr. Paris’s Sale of Pictures, 1741/2], 2nd Day’s Sale,” ca. 1760, Sales Catalogues of The Principal Collections of Pictures (One Hundred and Seventy one in number) Sold by Auction in England within the years 1711-1759, the greater part of them with the Prices and Names of Purchasers, vol. 1, p. 112, manuscript MSL/1938/867-868, National Art Library, Victoria and Albert Museum, London, as The Triumph of Bacchus.
[Antoine-Joseph Dézallier d’Argenville], Abrégé de la Vie des Plus Fameux Peintres, avec leurs Portraits Gravés en Taille-douce, les Indications de leurs Principaux Ouvrages, Quelques Réflexions sur leurs caractères, et la Manière de Connoître les Dessins et les Tableaux des Grands Maîtres, vol. 4 (1762; repr., Geneva: Minkoff, 1972), 28.
Giambattista Passeri, Vite de’ Pittori, Scultori, ed Architetti che Anno Lavorato in Roma Morti dal 1641. fino al 1673, 1st ed. (1772; repr., [Bologna]: Arnaldo Forni, [1976]), 353.
[Joshua Reynolds], A Discourse, Delivered to the Students of the Royal Academy, on the Distribution of the Prizes, December 10, 1776 (London: Royal Academy, 1777), 17.
A Catalogue of That truly Superb, and well-known Collection of Pictures, of the Roman, Venetian, Spanish, French, Flemish, Dutch and English Schools; the Intire [sic] and Genuine Property of Monsieur Desenfans ([London], 1786), vi.
A Catalogue of A Capital, Valuable, and well-chosen Collection of Italian, French, Flemish and Dutch Pictures, By the most esteemed Masters, the Whole in the highest Preservation. Amongst the above are Two most Celebrated and Noble Pictures by Nicolas Poussin, one representing “The Triumph of Bacchus,” the Other “The Sacrifice to the God of Pan”; ever esteemed the most Capital of all his Works; Also a Superbe and Beautiful Landscape by Claude Lorraine. Late the Property of Peter Delmé, Esq; dec. (London: Christie, 1790), 4.
“Delmé’s Pictures,” The World, no. 975 (February 15, 1790): unpaginated.
“The Arts,” The Gazetteer and New Daily Advertiser, no. 19,095 (February 17, 1790): unpaginated.
Amabel Yorke, entry for Thursday, March 21, 1793, Diary of Lady Amabel Yorke of Studley Royal, manuscript WYL150/7/6, vol. 14, p. 64, West Yorkshire Archives Service, Leeds, England.
“A Catalogue of the Pictures of John, 2nd Earl of Ashburnham. (1793),” manuscript, p. 5, The Library, The National Gallery, London, as Triumph of Bacchus.
Joshua Reynolds, The Works of Sir Joshua Reynolds, Knt., Late President of the Royal Academy: Containing his Discourses, Idlers, A Journey to Flanders and Holland, (Now First Published,) and His Commentary on Du Fresnoy’s Art of Painting; Printed from his Revised Copies, (with his Last Corrections and Additions), vol. 1 (London: T. Cadell, Jun. and W. Davies, 1797), 138, as The Triumph of Bacchus and Ariadne.
James Dallaway, Anecdotes of the Arts in England or Comparative Remarks on Architecture, Sculpture, and Painting, Chiefly Illustrated by Specimens at Oxford (1800; repr., London: Cornmarket, 1970), 515.
Joseph Mallord William Turner, “Commentary on Nicolas Poussin,” 1802, Studies in the Louvre Sketchbook, D04305, Turner Bequest LXXII, folio 27, Tate Gallery, London.
[John Feltham], The Picture of London, for 1807: Being a Correct Guide to All the Curiosities, Amusements, Exhibitions, Public Establishments, and Remarkable Objects, in and near London, 8th ed. (London: Richard Phillips, 1807), 298.
Nicolas Ruault, Éloge de Nicolas Poussin, Discours qui a remporté le prix de littérature décerné par la Société d’Agriculture, Sciences et Arts du département de l’Eure, dans sa séance publique, tenue à Évreux le 4 juillet 1808 (Paris: Henri Agasse, 1809), 62.
C. P. Landon, Vies et Œuvres des Peintres les Plus Célèbres de Toutes les Écoles; Recueil Classique, contenant L’Œuvre complète des Peintres du premier rang, et leurs Portraits; les principales Productions des Artistes de 2e et 3e classes; un Abrégé de la Vie des Peintres Grecs, et un choix des plus belles Peintures antiques; Réduit et Gravé au Trait, D’après les Estampes de la Bibliothèque impériale et des plus riches Collections particulières, vol. 11 (Paris: Treuttel and Wurtz, 1813), 29, as le Triomphe de Bacchus.
Maria Graham, Memoirs of the Life of Nicholas [sic] Poussin (London: Longman, Hurst, Reese, Orme, and Brown, 1820), 217-18, as Triumph of Bacchus and Ariadne.
Gio[vanni] Pietro Bellori, Vite dei Pittori, Scultori ed Architetti Moderni, vol. 2 (Pisa: Niccolò Capurro, 1821), 163.
John Preston Neale, Views of the Seats of Noblemen and Gentlemen, in England, Wales, Scotland, and Ireland, vol. 4 (London: Sherwood, Gilbert, and Piper, 1828), unpaginated, as Triumph of Bacchus.
Ch[arles] de Chergé, “Notice sur le château de Richelieu,” Mémoires de la Société des Antiquaires de l’Ouest 2 (1836): 234.
John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters; in which is included a short Biographical Notice of the Artists, with a Copious Description of their Principal Pictures; A Statement of the Prices at which Such Pictures Have Been Sold at Public Sales on the Continent and in England; A Reference to the Galleries and Private Collections, in which a Large Portion Are at Present; And the Names of the Artists by Whom They Have Been Engraved to which Is Added, a Brief Notice of the Scholars and Imitators of the Great Masters of the Above Schools, vol. 8, The Life and Works of Nicholas Poussin, Claude Lorraine, and Jean Baptist Greuze (London: Smith and Son, 1837), 110-11, as The Triumph of Bacchus.
Catalogue des Tableaux Composant la Galerie de Feu son Éminence le Cardinal Fesch (Rome: Joseph Salviucci et fils, 1841), 49.