64-65, fig. Entitled: Vertumnus and Pomon. Jaffé, David. Signed on the back of the base: Camille Claudel. Pomona fenced her garden so the rude young men couldn't trample her plants and vines. The story of Pomona and Vertumnus (or Vertomnus) is described in Ovid's Metamorphoses 14:623-697 and 765-771). 233, 235, no. A lead sculpture, representing Vertumnus and Pomona.Pomona has flowers in her hair and is depicted sitting with a basket of fruit in her lap. 166-67, under no. Williams, Julia Lloyd, ed. Kunstauktion. Konst att se: Scener ur den Hallwylska målerisamlingen (Stockholm: Hallwylska museet, 2008), pp. Pictures and Drawings of the British and Continental Schools: The Property of the late W.A. (Alkmaar and Zwolle: Stedelijk Museum, with Waanders Uitgevers, 2016), pp. Diane L. Webb, trans. After telling Pomona stories of love, he removed his disguise and won her hand. November 16, 1960, p. 22, lot 131. Please contact Annette Schlagenhauff, Curator of European Art, at aschlagenhauff@discovernewfields.org if you have questions, or if you have additional information to share with us. 52, fig. A Catalogue of the French, Dutch, British and Other Schools belonging to W.A. Ovid describes his love affair with Pomona and, according to legend, Vertumnus wore the mask of an old woman to conquer her. ]ONA”; upper center, in black: “51 x 41 / 2515”; upper right, in black: “263”; center left, in black: “8”. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more. Caesar van Everdingen, 1616/17-1678: Monograph and Catalogue Raisonné. Next to Pomona is a flying cupid. (Doornspijk: Davaco, 2002), pp. Public domain collection images downloaded from the Indianapolis Museum of Art at Newfields collections website should be credited: "Courtesy of the Indianapolis Museum of Art at Newfields." Painting Beauty: Caesar van Everdingen (1616/1617-1678), exh. Cesar van Everdingen (Dutch, about 1617 - 1678) 104.1 × 140 cm (41 × 55 1/8 in.) 17, 32, 110-11, cat. The content on this page is available according to the International Image Interoperability Framework (IIIF) specifications. Coats, Esq. Please complete the following questions to further improve the image files and metadata made available to Newfields users. cat. 3, ill. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Creative Commons Attribution 4.0 International License, International Image Interoperability Framework (IIIF). Museo de Arte de Ponce (Ponce, Puerto Rico), sold to Central Picture Galleries. ]”; upper left, black circular stamp: “DOUANE / EXPORTATION [?] Coats, Esq. The presence of a cupid (a winged boy armed with a bow and arrow), the personification of universal desire and the intermediary in human and divine matters of the heart, evokes the love affair between Vertumnus and Pomona. Additional caption information is provided with the downloaded image files and image use contracts, if applicable. (Edinburgh: National Gallery of Scotland, 1992), p. 175. B. Paterson, 1904), no. June 10, 1927, p. 14, lot 103. If you select Scholarly or Commercial as the Intended Use you will be prompted to provide additional details about your specific use in order that the Newfields can retain the record of how image reproductions of works in its collection are utilized. ]Source: annotated auction catalogue (GRI): Christies, London. Govaert Flinck, 1615-1660 (Amsterdam: Menno Hertzberger & Co., 1965), pp. Open Content images tend to be large in file-size. S.1293. Pomona was the Roman nymph of fruit (poma), who had a sacred wood, the Pomonal. Mak van Waay, Amsterdam. Catalogue of Ancient and Modern Pictures and Drawings of the British and Continental Schools: The Property of the Late W.A. Vertumnus, standing, places his right hand on the woman’s shoulder, while his left hand holds a mask. 75.PA.64 Open Content images tend to be large in file-size. ]Note: as Flinck, "Vertumnus and Pomona". Central Picture Galleries (New York, New York), sold to the J. Paul Getty Museum, 1975. R41. Coats, Esq. Estate of William Allan Coats, 1853 - 1926 [sold, Christie's, London, June 10, 1927, lot 103, to Duits for 105 guineas. Both paintings include Ovidian metaphors of fertility, including a fruit tree and a fruit-bearing vine. The Roman God Vertumnus, disguised as the talkative old woman, attempts to seduce the reclusive woodland nymph Pomona. 44, ill. Blankert, Albert. cat. H. 91 cm ; W. 80.6 cm ; D. 41.8 cm. xvi. Klinkert, Christi M., and Yvonne Bleyerveld, eds. November 16, 1960, Private Collection [sold, Dorotheum, Vienna, December 1, 1964, lot 34, to the Museo de Arte de Ponce. For the sculpture by Camille Claudel, see Vertumnus and Pomona (Claudel) William Allan Coats, 1853 - 1926 (Skelmorlie Castle, Dalskairth, Dumfries and Galloway, Scotland), upon his death, probably held in trust by the estate, 1926. Christies, London. Vertumnus, standing, places his right hand on the woman’s shoulder, while his left hand holds a mask.Next to Pomona is a flying cupid. So complete was the goddess Pomona's devotion to her orchards and gardens that she spurned the many suitors who courted her. ]Note: as G. Flinck, "Vertutine en Pomona", Private Collection [sold, Sotheby's, London, November 16, 1960, lot 34, to Teltscher. Both Vertumnus and Pomona were linked to vegetation, to the changing of the seasons and the fertility of the soil. This information is published from the Museum's collection database. See more ideas about Pomona, Art, Painting. Provenance research is on-going at the Indianapolis Museum of Art at Newfields. 69. Kneeling, a young woman turns away from the viewer to listen to an old woman whose open mouth and gesticulating hand indicate that she is in the midst of speech. Vertumnus and Pomona Cesar van Everdingen (Dutch, about 1617 - 1678) 104.1 × 140 cm (41 × 55 1/8 in.) Netherlandish painters favored this classical story in the 1600s because of its moralizing lessons on the dangers of gullibility. Ölgemälde, Aquarelle, Miniaturen, Zeichnungen alter und neuerer Meister, Ikonen. Held, Julius. Gerbrand van den Eeckhout painted the subject of Vertumnus and Pomona at least three times. This sculpture was executed in various media and was given various titles. Catalogue of Old Master Paintings and Drawings. In contrast to Bloemaert's treatment of the subject, Eeckhout's chastely clad Pomona downplays the inherent eroticism of the theme. She kept her orchards closed because she wanted to rid of the men who were attracted to her good looks. Sandell, Gösta. Moltke, Joachim Wolfgang von. Home > Collections > Sculptures > Vertumnus and Pomona. ]”; lower right, black circular stamp: “DOUANES FRANCAISES / LE BOURGET / SERVICE / ENTREPOTS”, Verso: upper left, in black: “8”; upper left, in pencil: “[? Catalogus van de belangrijke [...] veiling van oude schilderijen [...]. Both paintings include Ovidian metaphors of fertility, including a fruit tree and a fruit-bearing vine. Catalogue of Old Master Paintings and Drawings. Pomona and Vertumnus .

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