Charles Alphonse Dufresnoy

Welbore Ellis Agar (d. 1805), London:
By inheritance to his sons, Emmanuel Felix Agar and Welbore Felix Agar, London, 1805;
By whom sold, London, Christie's, 2 May 1806, lot 53 (As Albano);
Where acquired prior to the sale by Robert Grosvenor, First Marquess of Westminster (1767-1845), Eaton Hall, Cheshire;
Thence by inheritance to Richard Grosvenor, Second Marquess of Westminster (1795-1869), Eaton Hall, Cheshire;
Thence by inheritance to Hugh Lupus Grosvenor, First Duke of Westminster (1825-1899), Eaton Hall, Cheshire;
Thence by inheritance to Hugh Richard Arthur Grosvenor, Second Duke of Westminster (1879-1953);
By whom offered for sale, London, Christie's, 1 May 1925, lot 128 (as Francesco Albani);
Where unsold and returned to Hugh Richard Arthur Grosvenor;
By inheritance to William Grosvenor, Third Duke of Westminster (1894-1963);
By whom sold, London, Sotheby's, 24 June 1959, lot 1 (as Francesco Albano);
Where acquired by J. Paul Getty (1892-1976), Malibu and Sutton Place;
Held in trust by the estate upon his death, and thence distributed to The J. Paul Getty Museum, 1978.

London, Burlington Fine Arts Club, Exhibition of the Works of Old Masters, 1871, no. 52 (as Francesco Albano, The Triumph of Venus);
London, Royal Academy of Arts, Exhibition of the Works of Old Masters, 1871, no. 62 (as Francesco Albano, The Triumph of Venus).

C. Goede, England, Wales, Irland und Schottland:  Erinnerungen an Natur und Kunst aus einer Reise in den Jahren 1802 und 1803, Dresden 1804/5) vol. IV, p. 90;
J. Young, A Catalogue of the Pictures at Grosvenor House, London 1820, p. 29, no. 81, reproduced (as Albano);
A. Jameson, Companion to the Most Celebrated Private Galleries of Art in London, London 1844, p. 242, no. 1 (as Albano);
J. Young, Catalogue of the Collection of Pictures at Grosvenor House, London 1913, no. 77;
D. Jaffé, Summary Catalogue of European Paintings in The J. Paul Getty Museum, Los Angeles 1997, p. 122, reproduced (as Circle of Jacques Stella, possibly Charles-Alphonse Dufresnoy).

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This painting has been recently restored, despite the fact that the lining is older, and it should be hung as is. The painting is generally in very good condition although the lining is designed to hold in place some fairly strong cracks that have developed to the gesso and paint layer. The varnish is slightly opaque when viewed under ultraviolet light, but it is possible to see that some of these cracks, particularly the horizontal stretcher marks through the center of the piece, have been restored and in the left thigh of the figure there are also some restorations. In Galatea's torso there are spots of retouching addressing some abrasion in the half tones. The putti and the maiden behind Galatea and the figure in the lower right are all very well preserved and although there may be a few other restorations beneath the existing varnish, the condition may be considered to be very good.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."