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拍品专文
The present painting is a fine version by Oudry, perhaps with some studio assistance, of Dog Pointing two Partridges in the Swedish royal collections, which is today installed as an overdoor in the Royal Palace, Stockholm. Oudry's prime version, which is signed and dated 1725, was on a list submitted by Oudry to the Duke of Mecklemburg-Schwerin in 1732 as one of four representations of sporting dogs pursuing various game birds, priced at 400 livres each. Two of them were sold before 1735, but the remaining two were undoubtedly among the works acquired for the Royal Palace in Stockholm in 1740, purchased on behalf of Queen Ulrika through the embassy of the Swedish ambassador to France, Count Carl Gustav Tessin (1695-1770). Described by Oudry as 'autre chien en arrest sur des perdix cachées dans des genêts, fond de paysage, de 5 pieds de large sur 4 pieds de haut', the painting was probably first located in Louisa Ulrika's Audience Chamber, and is today installed in the former Audience Chamber of Prince Frederick Adolphus.
The composition was a favorite of Oudry's and several repetitions, in differing sizes and formats, are recorded by Hal Opperman; Oudry even reproduced the composition in an etching, in reverse, in around 1724 (see P. Grate, French Paintings II, Eighteenth Century, Stockholm, 1994, p. 231). The present canvas, which is smaller than the prime version, is executed with great fluency and mastery, especially the hound, and seems to have been acquired by Tessin for his own collection. The painting subsequently passed to the royal collection, probably when Tessin was obliged to sell part of his collection en bloc to Frederick I (for Louisa Ulrika) following his bankruptcy in 1749 -- only a slip-shod inventory of the transaction was drawn up -- or possibly in the Tessin estate sale of 1771. It was subsequently sold from the royal collection, in trade for furnishings, and was no doubt selected to be sold because it duplicated Oudry's painting that was already in the palace.
We are grateful to Claudia Schönfeld for confirming that she believes this work to be by Oudry and his studio, on the basis of photographs.
The composition was a favorite of Oudry's and several repetitions, in differing sizes and formats, are recorded by Hal Opperman; Oudry even reproduced the composition in an etching, in reverse, in around 1724 (see P. Grate, French Paintings II, Eighteenth Century, Stockholm, 1994, p. 231). The present canvas, which is smaller than the prime version, is executed with great fluency and mastery, especially the hound, and seems to have been acquired by Tessin for his own collection. The painting subsequently passed to the royal collection, probably when Tessin was obliged to sell part of his collection en bloc to Frederick I (for Louisa Ulrika) following his bankruptcy in 1749 -- only a slip-shod inventory of the transaction was drawn up -- or possibly in the Tessin estate sale of 1771. It was subsequently sold from the royal collection, in trade for furnishings, and was no doubt selected to be sold because it duplicated Oudry's painting that was already in the palace.
We are grateful to Claudia Schönfeld for confirming that she believes this work to be by Oudry and his studio, on the basis of photographs.