rmStlp ffiti taftjRUill i; V :'g ^ - !?#• 255 $£&<■ >, ft FRENCH ART Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/frenchartofeightOOburl FRONTISPIECE ANTOINE WATTEAU Burlington Fine Arts Club FRENCH ART OF THE EIGHTEENTH CENTURY LONDON PRIVATELY PRINTED I9H CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. PREFATORY NOTE This volume, privately printed upon subscription by members of the Club and their friends, is a record of the summer exhibi- tion held in 1913, comprising paintings, pastels, and drawings, with a few pieces of sculpture, furniture, miniatures, porcelain, flambeaux, clocks, snuff-boxes, and other examples of applied art, illustrating the eighteenth century in France. In order to complete the series of illustrations, there have been added three important and characteristic paintings, the loan of which it was not possible to obtain for the exhibition: viz., Fete Champetre by Watteau in the National Gallery of Scot- land; La Surprise , by Jean-Francois de Troy, in the Jones collection at the Victoria and Albert Museum; and the portrait of Princesse Marie-Adelaide-Clotilde, by Drouais, in the posses- sion of the Duke of Portland. COMMITTEE FOR THE EXHIBITION OF 1913 HIS EXCELLENCY M. PAUL CAMBON, G.C.V.O., French Ambassador. HIS EXCELLENCY THE PRINCE LICHNOWSKY, German Ambassador. MADAME LA COMTESSE DE BEARN. THE LADY WANTAGE. SIR WALTER ARMSTRONG. ROBERT H. BENSON, ESQ. LIEUT.-COL. G. B. CROFT LYONS. ERIC MACLAGAN, ESQ. SIR CLAUDE PHILLIPS. ROBERT C. WITT, ESO. 1 LIST OF CONTRIBUTORS TO THE EXHIBITION OF 1913 W. Lockett Agnew, Esq. *Sir Hickman B. Bacon, Bt. *T. W. Bacon, Esq. La Comtesse de Bearn. # Otto Beit, Esq. * Robert H. Benson, Esq. Mrs. R. H. Benson. The Earl of Bessborough, C.V.O., C.B. The Countess of Bessborough. *H.E. The Count Benckendorff, G.C.V.O. # Max J. Bonn, Esq. *Dr. Abraham Bredius. The Earl of Carnarvon. C. S. Carstairs, Esq. *The Marquis of Clanrikarde. # Louis C. G. Clarke, Esq. Mrs. Stephenson Clarke. W. A. Coats, Esq. Sir Frederick Cook, Bt. Charles Davis, Esq. Mrs. Hornsby Drake. The National Gallery of Ireland, Dublin. Ludovic G. Goetz, Esq. The University of Glasgow. Otto C. H. Gutekunst, Esq. Rt. Hon. Lewis Harcourt, M.P. *G. Harland-Peck, Esq. # F. Leverton Harris, Esq. J. P. Heseltine, Esq. E. Hockliffe, Esq. B TO LIST OF CONTRIBUTORS *Lieut.-Col. Sir George L. Holford, K. C.V.O., C.I.E. Arthur James, Esq. Mrs. Eugenie Joachim-Gibson. Hon. George Keppel, M.V.O. Dr. Magin. # Emile Mond, Esq. C. Fairfax Murray, Esq. # Bowyer Nichols, Esq. *Henry Oppenheimer, Esq. Mrs. Almeric Paget. The Lady Mary Parker. The Earl of Pembroke. Sir Claude Phillips. Sir Arthur Pinero. The Duke of Portland, K.G. # Maurice Rosenheim, Esq. The Lady Rothschild. ^Alfred de Rothschild, Esq., C.V.O. Leopold de Rothschild, Esq., C.V.O. A. G. B. Russell, Esq. Lewis H. Samuel, Esq. Meyer Sassoon, Esq. Sir Philip Sassoon, Bt. G. H. Shepherd, Esq. Rt. Hon. The Earl Spencer, G. C.V.O. # Rt. Hon. Sir Edgar Speyer, Bt., P.C. A. Vagliano, Esq. The Lady Wantage. The Duke of Wellington, K.G. Lady Wernher. # Dr. G. C. Williamson. # Robert C. Witt, Esq. * Contributors whose names are marked thus are Members of the Club. LIST OF PAINTERS AND DRAUGHTSMEN Examples of whose work are Reproduced or Described Augustin, Jean-Baptiste-Jacques (1759-1832). Blanchet, Louis-Gabriel ( working ' 1727-1757). Boilly, Louis-Leopold (1761-1845). Boissieu, Jean-Jacques de (1736-1810). Boucher, Francois (1703-1770). Chardin, Jean-Baptiste-Simeon (1699-1779). Charlier, Jacques. Drouais, Francois-Hubert (1727-1775). Dumont, Francois (1751-about 1830). Dumont, Jean (1701-1781). Favray, Antoine de (1706-1791). Fragonard, Jean-Honore (1732-1806). Gerard, Marguerite (1761-1837). Gillot, Claude (1673-1722). Greuze, Jean-Baptiste (1726-1805). Hall, Pierre-Adolphe (1739-1793). Huet, Jean-Baptiste (1745-1811). Lancret, Nicolas (1690-1743). Largilliere, Nicolas de (1656-1746). La Tour, Maurice-Ouentin de (1704-1788). Lavreince or Lafrensen, Nicolas (1737-1807). Le Prince, Jean-Baptiste (1733-1781). Liotard, Jean-Etienne (1702-1789). Mercier, Philippe (1689-1760). Moreau le Jeune, Jean-Michel (1741-1814). Nattier, Jean-Marc (1685-1766). Pater, Jean-Baptiste (1695-1736). Perronneau, Jean-Baptiste (1715 ?-i 783). i2 LIST OF PAINTERS AND DRAUGHTSMEN Rigaud, Hyacinthe (1659-1743). Robert, Hubert (1733-1808). Saint-Aubin, Gabriel-Jacques de (1724-1780). Saint-Aubin, Augustin de (1736-1807). Tournieres, Robert Levrac- ( 1668-1 752). Troy, Jean-Francois de (1679-1752). Vernet, Claude-Joseph (1714-1789). Vestier, Antoine (1740-1824). Vigee, Louis (d. 1767). Watteau, Antoine (1684-1721). INTRODUCTION DESIR DE PLAIRE : such is the title affixed to one of the paintings in the collection of French pictures lately seen at the Burlington Fine Arts Club. It affords the keynote to French art of the eighteenth century taken as a whole, and not less appropriately than to the painting could be applied to the architecture, the decoration, the furniture, the industrial art of that period. Art was to the eighteenth century— above all to France— the brilliant adornment and not the full expression of life. Its chief office was no longer to express, in ardour and intensity as in material magnificence, the Christian faith and dogma, the sublime scenes of sacred history; no longer in the portrayal of man to unveil the deeper recesses of the human soul. French art, in its most characteristic manifestations during the eighteenth century, was the flower, delicate, dazzling, and sometimes suggestive of deeper and more hidden beauty, which put the last and most exquisite touch to the exterior adorn- ment of life, accentuated its sparkling vivacity, interpreted its insouciance , if it also laid bare something of its shallowness, its incapacity, or rather its unwillingness to pierce through the hard brilliant surface to the very heart of things. For, in truth, beneath all this stimulating gaiety, this amiable optimism in the expression of man and his surroundings, there is felt to be a certain aridity, consequent upon the natural inclination or the resolute H INTRODUCTION intention to conceive of art, if not of life, as an artificial paradise of sunshine and smiles, with no secrets to unravel or mysteries to explore ; all light and no shade, all material (though refined) joy and delight, with- out that element of wonderment, of world-sadness, which belongs to the greatest things, and to their loftiest expression. There are indeed marked exceptions to the rule thus tentatively laid down, and, most marked of all, that of Antoine Watteau himself. The painter of Fetes Galantes , the incomparable master, who though he never attempted themes of serious import (save only those sacred subjects which, with him, were of the usual frivolous eighteenth-century type), touched with his own wistful melancholy, with the beauty of his own solitary, yearning soul, the scenes of frivolous gaiety, of artificial comedy, which, with the changeful palette of the enchanter, he evoked. He was the Giorgione of the eighteenth century, but a Giorgione the true poetry of whose art was not fully appreciated by the connoisseurs or the society of his own day. To his contemporaries he was just the initiator and the most brilliant exponent of the Fete Galante school, a painter of exquisite skill, but not to be included in the highest category. The most complete manifestations of his art must still be sought for in the Louvre, in the Prussian palaces, and in the Wallace Collection. Unavailing efforts were made to obtain for the recent exhibition either the Fete Champetre , in the National Gallery of Scotland , 1 or the still more famous P/aisirs du Bad of the Dulwich Gallery ; or again, that masterpiece of a higher order, L Amour Paistble, which is in one of the palaces at Potsdam. As it was, there were shown three little pieces not without their own peculiar significance in the oeuvre of the Valenciennes master; and with them a sheet of studies of a Negro’s head which illustrates his art at its highest point. There is deep pathos of a wholly different kind in the technically superb art of Chardin — so moving in its naive simplicity, its unquestion- ing acceptance of the narrower, humbler side of life, in its power, too, by 1 Here included as the frontispiece. INTRODUCTION i5 loving" sympathy, not expended in individualization but all-embracing", to raise and beautify the thing that it touches. The Goncourts, with their usual felicity of phrase, if with some little exaggeration, said of Watteau and Fragonard that they were the only two poet-painters of the eighteenth century. Fragonard Frago, as by himself and others he was uncere- moniously styled — was a poet of another order; frankly erotic, all youth, fire, and flame, carrying the spectator away with him in his onrush, constraining nature as well as humanity to express the passion that was in him : a passion all on the surface, it may be, and yet momentarily so intense — as in the Fontaine d' Amour of the Wallace Collection — that it has in it a certain element of pain. There is passion even in his expres- sion of rustic life, of homely, rollicking fun; as we may see in the important example of his later art, V Education fait Tout (Plate No. 38). Two portraitists, one the gifted painter and pastellist Perronneau, the other the great sculptor Houdon, looked deeper and, served by supreme technical accomplishment, rendered their fellow-man with greater subtlety and a truer appreciation of personality than their contemporaries. Perronneau, overshadowed throughout his career by his showier and more immediately imposing rival, Maurice-Ouentin de la Tour, has lately be- come the idol of French critics and collectors, who have raised him to a position which he will now assuredly maintain. He is at present un- represented in the public collections of the United Kingdom, and the Club must esteem itself fortunate in having been able to secure for exhibition so admirable an example of his penetrating, authoritative art as the “Petrus Woortman ” (Plate No. 27). To represent Houdon, the greatest portraitist among sculptors, and in many respects the greatest artist of the eighteenth century, we have the little terra-cotta “Voltaire” (Plate No. 50), a preliminary study no doubt for the world-famous statue in the foyer of the Comedie-Francaise. But this study is a marvel not only of momentariness but of penetrating truth in characterization; perhaps a truer, certainly a simpler representation of the aged philosopher than the i6 INTRODUCTION great dramatic presentment, in which with a corrosive irony that can hardly be faced he continues to challenge, to baffle, the onlooker. The often-reproduced drawing by Moreau le jeune, showing the apotheose of Voltaire at the Comedie-Francaise in 1778, after the sixth performance of his “Irene” (Plate No. 42), might fittingly have been placed beneath the little portrait-statue, since it illustrates exactly the same period- — the very last — in a career as great in fruitfulness as in duration. A colder less vibrant brightness, an assumption of excessive sen- sibility, mark the later years of the eighteenth century. These peculiarities stand out strongly in the art of Greuze (Plates 36 and 37), of Marguerite Gerard (Fragonard’s sister-in-law and pupil) (Plates 47 and 48), of Boilly, too (Plates 45 and 46), who belongs equally to the Louis-Seize period, the Empire, and the Restoration. It was not deemed advisable to include in the exhibition the works of those two great masters, Louis David and Prud’hon, though they belong equally to the eighteenth century and the nineteenth, and the former is to be accounted one of the precursors of modern French art. In these circumstances it may be useful to recall that much of David’s finest work, especially in portraiture, was done in the last years of the eighteenth century. To this period belong the companion portraits M. Pccoul and Mme. Pecoul , in the Louvre, the delightful Marquise d Orvilliers, in the collection of the Comte de Turenne, and those not less delightful pendants M. Seriziat and Mme. Seriziat, also in the Louvre. It must be borne in mind that the eighteenth century, if it includes at the one end the Embarquement pour Cythere of Watteau, includes at the other the Belisaire , the Serment dcs Horaces , the Mort de Marat, of David. A very fair representation of the chief French painters of the eighteenth century was afforded by the recent exhibition. There was, of course, no thought of competing with the Wallace Collection, which on its own ground — unfortunately, as regards painting and sculpture, a very narrow ground — is supreme and above all rivalry. But the organizers of INTRODUCTION i7 the exhibition were fortunate in securing examples of several painters of high rank who are entirely unrepresented at Hertford House. Thus there were no fewer than nine Chardins — at least three of them of the finest quality (Plates 21, 22, 23) — while there is none in the Wallace Collection. There were also characteristic examples of La Tour (Plate 26), of Perronneau (Plate 27), and of Drouais (Plates 29, 30), three painters of the first rank who lack representation in that museum par excellence of French art. Moreover, there are here illustrated phases of the art both of Rigaud (Plate 2) and of Largilliere (Plate 3), which will hardly be familiar to the untravelled Englishman. As curiosities must rank the pastel portrait by Vigee (father of Mme. Vigee Le Brun) (Plate 24), bear- ing the date 1745; the Dames Maltaises (Plate 28), by the Chevalier Antoine de Favray, best known by his two Maltese subjects in the Louvre; the kitchen-piece, in the Dutch style, by De Boissieu; the “ Portrait of a Man,” ascribed to Philippe Mercier. Among other notable French painters of the eighteenth century unrepresented in the exhibition, the following may be enumerated : Santerre, Grimoux, Raoux, Pesne, the Coypels, Francois de Troy, Le Moyne, Jean-Baptiste and Carle van Loo, Natoire, Tocque, Duplessis, Roslin, Nicolas-Bernard Lepicie, Madame Vigee Le Brun, and her rival Madame Labille-Guiard. C. P. c NUMBER I IPPOSED PORTRAIT OF MADAME DE PARABERE ( ?) HYAC I NTHE RIGAUD LIST OF PAINTINGS, PASTELS, DRAWINGS, AND WORKS OF ART EXHIBITED AT THE CLUB IN 1913 With the Addition of “ F£te Champ£tre,” by Watteau; “ La Surprise,” by Jean-Francois de Troy, and the Portrait of Princesse Marie-Ad£laide- Clotilde, by Drouais 1 SUPPOSED PORTRAIT OF MADAME DE PARABERE. Plate II. Sous le riant aspect de Flore Cette beaute touche les coeurs , Et par le contraste d'un More Releve ses attraits vainqueurs. Mais que dis-je! des dons de flore Son teint augmente la fraicheur , Et la noirceur mem.e du More Tire un eclat de sa blancheur. (These lines appear on the engraving of the picture referred to below.) Three-quarter length portrait of a young lady in the full flower of her beauty. She is seated towards the spectator and turns her head three-quarters to the left. Her hair, which is fair and slightly powdered, is dressed high above her forehead and tied at the back 20 PICTURES, DRAWINGS, ETC. with a blue ribbon, which hangs on her left shoulder; a lock of hair falls on her right shoulder. She wears a decollete blue dress, trimmed with white lace at the edges of the bodice and sleeves. Slashes at the shoulders are bridged with jewels set with pearls, and a jewel with three large drop pearls adorns the front of her dress. A volumin- ous white scarf falls from behind her left shoulder over her left forearm and half covers her lap, being held at the waist by a narrow belt. With a slight smile she looks at a large pink carnation, which grows from a plant on the left; she holds the stalk in a delicate right hand, set on a well-rounded arm, and is about to add the blossom to the flowers in a small basket, which is held out in front of her by a little blackamoor, who, seen in profile to the waist, is approaching from below on the right. Her left hand rests upon his right shoulder. He wears a brown velvet jacket with white facings, and a drop pearl hangs from his ear. At the top of the picture, on the right, are seen the chest and paws of a couchant lion in bronze, reposing on a stone pedestal. At the top, on the left, are the trunk of a tree and some foliage, and clouds are indicated behind the lady’s head. Bright light falls upon her from the left, but the tree and the figure of the boy are almost entirely in shadow. Canvas; sight measure, 43^ by 35^ inches. Engraved, with a slightly different background, by S. Valee, as “Madame Picot.” Portraits of women by Rigaud are relatively rare. The most remarkable are the often-repeated presentment of the Duchesse d’Orleans, mother of the Regent, and the double-portrait of the artist’s mother, Marie Serre, in the Louvre. The painting now exhibited may be compared with the portrait by Rigaud of August III of Saxony as Crown Prince (Dresden Gallery), a work which it resembles in technique, and somewhat also in arrangement. By Hyacinthe Rigaud (1659-1743). Lent by Sir Philip Sassoon, Bart. Plate III. 2 LE COMTE DE RICHEBOURG. Half-length, nearly full-face portrait of a clean-shaven man in the prime of life. He is seated, turns slightly to the left and looks slightly to the right with a pleasant expression. He has bright, dark PLATE III NUMBER 2 COMTE DE RICHEBOURG NICOLAS DE LARGILLIERE . PICTURES, DRAWINGS, ETC. 21 brown eyes, dark eyebrows, a straight nose, and a fresh complexion. He wears a loose powdered wig, descending to his shoulders, a black coat, and a white shirt open in front. A red cloak, which he holds in front with his left hand, is thrown loosely around him and covers his left shoulder. On the left is a stone column ; in the background are trees and a cloudy sky. The light falls from in front, slightly to the left. Copy of an inscription on paper pasted on the back of the frame: Anne Louis . . . Comte de Richebourg . . . Luce, Grande et petite th . . . Bailie, Bois Moze, . . . au Parlement de Paris . . . baptise le 1 2 mars . . . Sulpice — Decede le . . . a epouse a Avignon . . . Elisabeth Fran9oise . . . Renee Andre Le Sage . . . peint par . . . On a small label is written: Largilliere — Le Comte de Richebourg owner of the castle and estate of Richebourg in Bourgogne. Canvas; sight measure, 31J by 24^ inches. By Nicolas de Largilliere (1656-1746). Lent by Mr. C. Fairfax Murray. LE TRIOMPHE DE NEPTUNE. A decorative design. Neptune is seated in the centre; in front of him are two sea-horses turning three-quarters to the left and right respectively. In his right hand he holds the reins of the horse on the left; in his left is a trident. Below are a figure blowing a shell and two dolphins. The composition is surrounded by an elaborate frame- work. 22 PICTURES, DRAWINGS, ETC. Sanguine; sight measure, u by inches. Engraved in Le Livre des Portieres', the engraving is reproduced in the Gazette des Beanx-Arts , vol. xxii, 1899, page 123. By Claude Gillot (1673-1722). Lent by Mr. Louis C. G. Clarke. 4 STUDY OF A MAN. Full-length figure of a man standing slightly to the left, but turning his head three-quarters to the right and looking in that direction; his weight rests on his left leg. He wears a felt hat adorned with feathers, a wig, a loose ruff, a short doublet, a cape of which a corner hangs over his right arm, short puffed hose, and long stockings with garters below the knees. His left arm is partly extended towards the spectator’s right. In his right hand he holds a glove and a cane, the point of which rests on the ground by his right foot. Sanguine; sight measure, 13*- by 8§ inches. Ascribed to Claude Gillot (1673-1722). Lent by Mr. E. Mond. Plate IV. 5 HALTE D’ARMEE. A small detachment of troops and camp-followers has halted at eventide and is awaiting the preparation of a meal. The figures are twenty-three in number. On the extreme right is a pollarded tree the lowest branches of which overhang a small pool in the foreground ; beyond the tree stands a cart. Two female and three male figures sit in a row on the edge of a small hollow which slopes towards the pool ; one of the women carries a baby on her back. A man in a buff- coloured dress lies at the left-hand end of the row with his back to the spectator, and a sentinel in a dull red uniform stands behind, his figure showing up distinctly against a cloudy sky. In another small depression three men are playing cards, while a fourth leans over them with a pipe in his left hand. A drum and a blue flag lie on the ground hard by. Further to the left, and slightly more remote, a number of men surround two women, one of whom is seated by a clump of trees, while the other stands to her right. Behind the group part of a tent is seen. In the shelter of the trees, on the extreme I PLATE ANTOINE WATTEAU NOCTURNAL SCEN E; LOVERS READING ANTOINE WATTEAU. PICTURES, DRAWINGS, ETC. 23 left, three men watch a pot which is being - boiled over a small fire. Distant hills are indicated in the centre of the composition. Canvas; sight measure, 8f by 14^- inches. One of Watteau’s earliest pictures; probably a repetition of the Detachementfaisant alte painted on copper (E. de Goncourt, Catalogue raisonne de 1 ' oeuvre d' Antoine Watteau , 1875, page 54, No. 51) which was in the cabinet of the Baron de Crozat. On the back of the canvas is written Ce tablau qui ettais pint sur bois a etc enleve et remis sur toile par hacquin en 1774. [Compare de Goncourt, op. cit., page 360: “ Une repetition du tableau de Crozat: Detachement faisant Alte (H. 23c., L. 38c.), est actuellement en la possession du baron Schwiter. Au dos on lit: Ce tableau qm etait pint sur bois a etc enleve et remis sur toile par Hacquin en 1 7 7 1 . ’ ] A companion picture, Depart de Troupe (engraved as Recrue allant joindre le regiment ), belongs to Baron Edmond de Rothschild. It is the first in order of date of Watteau’s paintings. Enlarged copies of both pictures are in the Glasgow Art Gallery. Exhibited at the Loan Exhibition of Works by French and English Painters of the Eighteenth Century at the Guildhall in 1902 (No. 128; the catalogue describes it as being on panel). Reproduced in the Catalogue of the Collection of Pictures . . . belonging to W. A. Coats , 1904. See Sir Claude Phillips’s Antoine Watteau (2nd ed., 1907), pages 64-70. By Antoine Watteau (1684-1721). Lent by Mr. W. A. Coats. 6 NOCTURNAL SCENE: LOVERS READING. Half-length figures of a young man and a girl reading out-of- doors at nightfall by the light of a candle. On the right, the girl, seen three-quarter face to the right, looks down at a sheet of paper which she holds in both hands above a reddish ledge or table. Her dark hair is bound with a blue fillet; over a brown bodice tied in front with a blue ribbon she wears a greenish striped garment with short sleeves. Round her neck is a white handkerchief. Behind her, to the spectator’s left, and partly hidden by her, is a young man who holds a candlestick in his left hand, and looks over her right shoulder at Plate 24 PICTURES, DRAWINGS, ETC. the paper. His parted lips suggest that he is reading. A thicket is indicated in the background, and the waning light in a patch of sky at the top of the picture on the left appears to indicate that night has only just fallen. Panel; 7^ by 6|- inches. Exhibited at the Loan Exhibition of Pictures by Painters of the French School at the Guildhall in 1898. A sheet of studies, formerly in the collection (now dispersed) of Miss S. A. James, gives in several different poses the head of the girl, and that of the young man, in this picture. By Antoine Watteau (1684-1721). Lent by Sir Frederick Cook , Bart. Plate VI. 7 PORTRAIT BELIEVED TO BE THAT OF WATTEAU. Three-quarter length, full-face portrait of a clean-shaven man seated towards the spectator. With a pensive look in his blue eyes he gazes slightly downwards and towards the left. His right hand turns the handle of a hurdy-gurdy, which he holds upon his left thigh. He wears a powdered wig and a light greenish-brown suit. The coat is open in front to show a white stock and shirt. His sleeves are fitted with large cuffs embroidered in red, blue, and yellow, which reach to the elbows; white frills encircle his wrists. In the background on the right is seen the trunk of a tree; on the left in the distance is a clump of tall trees. The sky is slightly cloudy. The light falls from the left. Canvas, re-lined; sight measure, 8-f by inches. This picture has not been shown in any recent exhibition. By Antoine Watteau (1684-1721). Lent by Earl Spencer. Frontispiece. 8 FETE CHAMPETRE. A party of ladies and gentlemen are grouped in a woodland glade opening on a peep of distance and a sky of blue and white to the left, and occupied to the right by a white marble fountain decorated with a reclining nude statue, and with a large sculptured vase as a finial. In the centre a lady attired in shimmering white and blue dances, her partner, in red and yellow and wearing a purple PLATE VI PORTRAIT OF THE PAINTER ANTOINE WATTEAU r L A I t STUDIES OF A NEGRO’S HEAD PICTURES, DRAWINGS, ETC. 25 cloak, footing it opposite her to the left, to the strains of a piper, who is seated on a stone bench to the right. On the grass at the piper’s feet sit a youth, in red, and a little girl; and extending across the picture beyond the dancers is a row of brilliantly-costumed ladies and gallants flirting. The light falls from the left. Canvas, 22 by 18 inches. Collections of M. Jean de Jullienne and M. Randon de Boisset; at the sale of the latter in 1777, it was purchased for 5,999 francs. This pi6ture, along with others, came into the possession of the Murrays of Henderland from Major-General Ramsay, son of Allan Ramsay, the painter. It is probable that it, and the pi6tures by French artists bequeathed to the National Gallery of Scotland by Lady Murray in 1861, were acquired by Allan Ramsay. Engraved by Laurent Cars (1699-1771) as Fetes Venitiennes , for M. de Jullienne’s Recueil, L' oeuvre d’ Antoine Watteau , 1734. Engraved on wood by Jonnard for Magazine of Art, 1890. Reproduced in Sir Claude Phillips’s Antoine Watteau (2nd Ed. 1907). Etched by F. Huth. By Antoine Watteau, 1684-1721. In the National Gallery of Scotland. 9 THREE STUDIES OF A NEGRO’S HEAD. At the bottom of the sheet is a head in profile to the right, wearing a cap and looking upwards. The other heads are smaller, with close-cropped curly hair. One, on the left, turning three-quarters to the right, looks downwards; the coat is sketched in almost to the waist. The third head, seen three-quarters to the left, looks down- wards; the shoulders of the coat are indicated. Black and red chalk, with touches of wash in the draperies ; 9 r 9 B inches by iof inches. Formerly in the collection of Miss S. A. James. Exhibited at the Bethnal Green Museum in 1875. Sold at Christie’s (lot 77) on 16th June 1911. A reproduction in monochrome was published by the Arundel Society in 1878. D Plate VII. 26 PICTURES, DRAWINGS, ETC. Reproduced in facsimile by the Vasari Society. A version in reverse, probably a rubbing", is in the National Museum at Stockholm (reproduced in Lady Dilke’s French Painters of the XVIIIth Century , 1899, facing" page 88). Other drawings of negroes’ heads by Watteau are in the British Museum and the Louvre. By Antoine Watteau (1684-1721). Lent by Mr. Max Bonn. 10 STUDY OF A MALE FIGURE. Full-length figure of a young clean-shaven man standing facing the spectator, with his head thrown slightly back and inclined to the right, his left elbow resting on a stone pedestal, his right hand thrust into his waistcoat, and his right leg crossed in front of the left, on which his weight rests. His wig, or long hair, falls upon his shoulders; his left hand, which is just below his chin, holds an oval object. His coat descends to his knees, and his waistcoat almost as far. The coat has large turned-up cuffs, and frills encircle his wrists. Trees and a fountain (?) are indicated in the background on the left. Sanguine; 44^ by 2^ inches. Engraved as the second plate in Figures dc Modes Dcssinees etgra- vees a T Eau foi'te par Vatteau et terminees au burin par Thomassin le fils. Compare No. 1 1 . By Antoine Watteau (1684-1721). Lent by Mr. Louis C. G. Clarke. 11 STUDY OF A FEMALE FIGURE. Full-length figure of a girl standing three-quarters to the left. Her head, which is slightly inclined to the right, is turned to face the spectator. A shawl, which covers the top of her head, is tied loosely on her breast, and hangs down as far as her waist. Her left hand is hidden behind her skirt; her right hand raises the skirt in front sufficiently to show her feet. Behind her is a grassy bank; PLAT E VIII LA DISEUSE D'AVENTURES NICOLAS LAN C RET ) l PICTURES, DRAWINGS, ETC. 27 from it spring's a slender tree inclined to the right, a branch from which projects across the top of the composition. Sanguine; 4^ by 2{-f inches. Engraved, with some alteration of accessories, as the fifth plate in Figures dc Modes Dessinees et gravees a /’ Eau forte par V atteau et terminees au burin par Tkomassin le fils. Compare No. 10. Four other drawings of the series are in the National Museum, Stockholm. By Antoine Watteau (1684-1721). Lent by Mr. Louts C. G. Clarke. 12 LA DISEUSE D’AVENTURES. A young lady, attended by a companion, has come to a retired woodland spot to learn her future from a gipsy fortune-teller. On the left, turning three-quarters to the right, with her head in profile, stands the lady, looking intently at the gipsy, who holds the lady’s left hand in her right hand. The lady wears a small white cap with blue ribbons, a scarlet shawl and a reddish-yellow gown below which a blue skirt is visible. Her right arm hangs at her side and raises the back of her dress. The gipsy stands three-quarters to the left and addresses the lady, emphasizing her remarks with a gesture of the left hand. A whitish kerchief is tied over her head ; she wears a brown bodice with blue fichu and white sleeves, and a reddish-brown skirt. Between the pair is seen the lady’s companion. She wears over her head a black shawl, which she holds with her left hand; her purple bodice is trimmed in front with pink. She is addressing her mistress and gesticulating with her right hand. Behind the group and also on the right of the composition are trees with autumn tints ; to the right of the gipsy is a small vista giving a glimpse of a lake, distant hills, and a sunset sky. Above the trees clouds and blue sky are seen. An early work painted under the immediate influence of Watteau. Laurent Cars engraved after that master a “ Disease davanture" of different design. Canvas, relined; sight measure, 14I by 11^ inches. By Nicolas Lancret (1690-1743). Lent by Mr. G. Harland-Peck. Plate VIII.. 28 PICTURES, DRAWINGS, ETC. Plate IX. 13 LA PROMENADE. Two full-length figures standing on a terrace. On the left, turned to the right with her face seen three-quarters, is seen a dark- haired girl coyly averting her gaze from the fashionably dressed young gallant who stands at her side, his pleading yet slightly supercilious glance directed towards her. She wears an amber dress with white trimmings at neck and sleeve and a voluminous skirt; her right hand holds up her dress at the back, showing white and pink petticoats; her left hand is hidden by her dress. On the left side of her head she wears a red cap. The man, who carries his black hat under his left arm, wears a long coat of pale mauve lined with dark blue; a long blue waistcoat, open to the waist, with silver facings; light- coloured breeches, pale grey stockings, and black shoes. His white shirt is visible at the chest and the left wrist, and he wears a small black stock. In his left hand he holds a thin cane, the point of which rests upon the pavement. On the right the stone parapet of a staircase slopes down towards a background of trees; behind the female figure, at some distance from it, is a dark mass of foliage; foliage is indicated in the upper corner on the right, and the rest of the back- ground is filled by a cloudy sky with orange tints near the horizon. A diffused light falls upon the figures from the right. Canvas; sight measure, 22'\ by 19 inches. The costume of the man is a little later in style than that of the woman, and more realistically treated. The drawing of the female figure reproduces in reverse that of the much smaller figure in Watteau’s La Fontaine in the Wallace Collection. By Nicolas Lancret (1690-1743). Formerly attributed to Watteau. Lent by Mr. G. Harland-Peck. Plate X. 14 LA TASSE DE CHOCOLAT. Scene in a garden, with a group of five figures in the left half of the composition. On a stone bench, a young lady with brown hair is seated three-quarters to the left with her face in profile. She wears a small white cap and a low-necked rose-coloured dress turned up in front on to her lap to show a blue lining and a gray skirt. In her PLATE IX NUMBER 13 LA PROMENADE NICOLAS LANCRET J J CL UJ CO D Z LA TASSE DE CHOCOLAT PICTURES, DRAWINGS, ETC. 29 left hand she holds a blue and white china cup of chocolate; with her right hand she is about to put a spoonful of the beverage into the mouth of a little brown-haired girl who stands to the right in an expectant attitude — she wears a white cap, trimmed with yellow, a yellow dress, and a white fichu and apron. Behind the child, slightly to the right, a rather bigger girl, wearing a white cap and a pale blue dress, stands towards the spectator and looks demurely at her mother. Behind the children, their father, dressed in a grey suit and pale blue stockings, is seated three-quarters to the left with his left leg crossed over the right and his right hand resting on his left knee. He turns his head three-quarters to the right and looks at his children, while with his left hand he holds a small tray on which are a blue and white sucrier and cup. A man-servant, standing to the right, almost in profile, and wearing a brown suit, an apron and grey stockings, is pouring chocolate from a silver pot into the cup. In the foreground a doll lies face downwards; on the right a dog is sniffing among some hollyhocks. Almost in the centre of the composition, above the bench, is a large stone urn full of flowers, from which sprays of honey- suckle hang. On the right is a large pool surrounded by masonry and fed from a scallop-shell fountain at the further end. In the back- ground are trees and a partly clouded sky. The roof of a building is just visible on the extreme left. The light falls from the left. Canvas; sight measure, 34^- by 37f inches. Purchased in i860. Exhibited as^f Garden Party at the Loan Exhibition of Pictures of the French School at the Guildhall in 1898 (No. 84). See Lady Dilke’s French Painters of the XVIIItli Century , page 109; a reproduction faces page 108. Another reproduction faces page 78 of the Catalogue of . . . the Collection of Lord and Lady Wantage, 1902. By Nicolas Lancret (1690-1743). Lent by the Lady Wantage. L’ETE. Landscape with five figures on the bank of a mill-stream. On the right, a girl in a grey bodice with blue and white sleeves, a pink fichu and a yellow skirt, reposes on the ground, three-quarters to the 30 PICTURES, DRAWINGS, ETC. right, supporting herself on her left hand while she holds a fishing- rod with the right. In the centre, a man kneels in profile to the left. He wears a white shirt and brown breeches, and his head, legs, and arms are bare. He rests his left hand on the ground while with the right he hands a fish to a girl, seen in profile to the right, who holds up her white skirt to receive it. She wears a blue bodice with yellow sleeves, and a blue underskirt. Behind her to the right a man in a grey hat, scarlet coat, white sash and grey stockings, leans over to the right with his face in profile; his left foot rests on a block and his left elbow on his knee; with both hands he holds the handle of a net which he has let down into the water. On the extreme left a man, perhaps the owner of a watermill which is seen at a distance across the water on the right, is approaching the group, who seem oblivious of his proximity. His face is in profile to the right; he wears a brown felt hat, a blue coat, a white shirt, yellow breeches striped with blue, and grey stockings. Behind, on the left, rises a bank crowned with trees. Some fish lie on the ground and a log protrudes from some water in the immediate foreground. The sky is partly clouded. The light falls from the left. Canvas; sight measure, i6| by I2| inches. By Nicolas Lancret (1690-1743). Lent by Mr. Alfred de Rothschild , C. V.O. 16 L’AUTOMNE. Scene in a garden, with nine figures. In the foreground on the right, three girls are seated by a heap of melons, grapes, peaches, and pears. The girl on the right of the group is seen in profile to the left; she wears a dark bodice, yellow and white sleeves, and a pink skirt. The next, seen three-quarters to the left, has a pale blue bodice. The third, with her face in profile to the right, wears a blue and yellow dress and a pink underskirt; close by her, to the left, a wheelbarrow lies on its side. Behind this group, on the right, a man standing in profile to the left and wearing a light-coloured coat, with pink ribbons, and pale blue breeches, is offering a bouquet to a lady dressed in a striped pink bodice and blue skirt who looks at him with a startled expression. In the centre of the composition, a lady in a PLATE XI number 17 le desir de plaire J E AN - BA PT I S TE PATER PICTURES, DRAWINGS, ETC. 3i yellow dress ornamented with blue stands in profile to the left, look- ing up at a man in a brown suit and grey stockings who stands with his right foot on a ladder placed against a large peartree. He is picking a pear and is about to drop it into the lady’s skirt, which she holds up to catch it. Beneath him, turning towards the spectator, a man in a black hat and scarlet coat is digging with a spade ; at the foot of the ladder a man in profile to the left, wearing a drab coat and gaiters and pink breeches, is watering some hollyhocks. Behind the figures on the right of the picture, is a mass of stonework and sculpture, surmounted by a balustrade and a large urn. On the left is a glimpse of distant landscape. The light falls from the left. Canvas; sight measure, 15 by 12 inches. Cf. E. Bocher, Catalogue de l oeuvre de Lancret, p. 57, No. 75. By Nicolas Lancret (1690-1743). Lent by Mr. Alfred de Rothschild, C. V.O. 17 LE DESIR DE PLAIRE. Plate XI. Interior of a lady’s boudoir, with eight figures. The lady, with the assistance of her maids, is completing her toilette, while a lover steals a glance at her from behind a curtain. She is seated three- quarters to the left in front of a draped dressing-table, on which are a red lacquer looking-glass with brown back, and a bluish-grey striped cloth. She wears a blue dress with a green and red floral pattern; a white peignoir is thrown over her shoulders; her right hand rests on the table and in her left she holds a pink flower. A maid in a purplish dress stands behind her to the right, and is fixing an ornament in her hair. Behind this maid another, dimly seen, holds a dish, and stoops over the fireplace, before which a fourth maid, dressed in scarlet, and seated on a blue-covered stool with her back to the spectator, is airing a white cloth. A fifth maid, in a pale mauve dress and white apron stands to the (spectator’s) left of her mistress and holds an object towards her; behind the dressing- table is a sixth girl, who gazes at the lady. To the left of the table is a girl in a stooping posture three-quarters to the right, with her back to the spectator. Her left knee rests on a crimson chair, and she turns her head to look towards the spectator. She wears a white cap, a brown bodice, and a green skirt. In her left hand she holds a gold 32 PICTURES, DRAWINGS, ETC. coin, a bribe from the impatient lover, who pushes aside a purplish curtain in order to get a glimpse of his mistress. In front of the table, on the floor, lies a small basket, covered with a red cloth. On the green mantelpiece are a cup, a clock, and a candlestick. On the grey wall at the back of the room is an upright oil landscape, with a shepherdess dressed in red and blue. On the left, partly hidden by the curtain, is an opening through which the white wall of another apartment is seen. Over the doorway hangs an oval flower piece. A diffused light falls from the left. Canvas; sight measure, 1 6 R? by 13^ inches. Formerly in the collection of the Earl of Lonsdale; sold at Christie’s on 18th June 1887. The picture is, in dimensions and style, a pendant to No. 18, La Toilette. A similar painting, less silvery in tone, is in the Louvre. A picture with a similar central group, formerly in the Marquise de Lavalette’s collection, belongs to Lady Emily Digby. See Lady Dilke’s French Painters of the XVIIIth Century , p. 99, and the Gazette des Beaux-Arts , vol. xx, 1898, pp. 331, 332. Exhibited at the Loan Exhibition of Works by French and English Painters of the eighteenth century at the Guildhall, 1902, No. 109. By Jean-Baptiste Pater (1695-1736). Lent bv Mrs. Stephenson Clarke. Plate XII. 18 LA TOILETTE. Interior of a fine apartment with eight figures. To the left of the centre, a lady seen three-quarters to the left but turning her head three-quarters to the right, is getting out of a large metal bath, over the side of which a white cloth is hung. Her left foot rests on a small red stool; her right leg is still in the bath. A maid seated to the right on the floor, holds out a slipper in her left hand. She wears a white cap, a low-cut yellow embroidered bodice, a white apron and a blue skirt. Beside her, on the paved floor at the extreme left of the composition, are a brass dish and a scarlet cloth; behind her is a sofa upholstered in pale blue. On the further side of the bath three maids wait upon their mistress. One, on the left, wears a mauve % PLATE XIII NUMBER 19 TROUPE DE COMEDIENS AMBULANTS J E AN - B APTISTE PATER 34 PICTURES, DRAWINGS, ETC. inverted tub to their left; on their right is a girl with a basket of flowers, and in the background is a thatched cottage. Canvas, 29 by 23^ inches. Engraved by Simon-Francois Ravenet (1706-1774). No. 187 in the catalogue of the Earl of Pembroke’s collection. Lent by the Earl of Pembroke. 21 L’ESCARPOLETTE. Landscape, with eight figures arranged approximately in a row, which slopes upwards across the picture from the left. In the left- hand corner a fair-haired man is seated on the ground, with his back to the spectator, his face being in profile to the right; he supports himself with his left hand. He wears a white silk suit and a pale mauve cape, which hangs on his left shoulder. Above him is seen a man in a grey suit standing three-quarters to the right and holding out his apron, which is full of flowers, to a girl seated three-quarters to the right, and turning her face three-quarters to the left to look at him. She wears a green dress and a yellow skirt. The next figure is a girl in a pink dress, with brown underskirt, seated three- quarters to the right. Near her a man kneels three-quarters to the left, but faces three-quarters to the right. He wears a reddish-brown coat and cap and grey breeches. On the right, on a swing, a girl is seated three-quarters to the left, with her face turned three-quarters to the right. She wears a white cap and a decollete dress of grey and blue with white trimmings. On the extreme right are the head and shoulders of a man turning three-quarters to the left and pushing her. He wears a ruff and a dress of light purplish colour. In the foreground on the right is a small pool. In the background on the top of a bank on the left is a group of two cupids struggling with a dolphin; behind are trees. A diffused light illumines the scene. Canvas, relined; sight measure, 30 by 39A; inches. Formerly in the collection of Mrs. Lyne Stevens. Sold at Christie’s (lot 357) on nth May 1895. By Jean- Baptiste Pater (1695-1736). Lent by Mr. A. Vagliano. PICTURES, DRAWINGS, ETC. 35 LA DANSE. Eight figures in a landscape illumined by diffused light falling from the left. To the left of the centre a man, standing three-quarters to the left with his back to the spectator and his face in profile to the left, is dancing with a girl standing towards the spectator with her face three-quarters to the right. The man wears a grey suit, a short blue cape hanging on his left shoulder, and salmon-coloured stockings. The girl, who has flowers in her brown hair, wears a decollete pink bodice edged at the top with blue, and a yellow skirt striped with pale blue. On the left, in the corner of the picture, are two seated figures; the nearer, who wears a straw hat, a greenish grey coat, blue breeches and grey stockings, is in profile to the right and holds bagpipes; behind him, three-quarters to the right, is a rough-looking man with a short beard, wearing a purplish-brown cap and cloak. In the right half of the composition, rather further from the spectator, is a group of five figures. On the left of the group are the head and shoulders of a man in a yellowish coat kneeling three-quarters to the right by a girl whom he is trying to kiss. The girl, seated to the left, averts her face almost in profile to the right; she wears a blue cap and a pale blue striped dress. A youth wearing a grey hat with pink feather, and a light-coloured coat, stoops over the pair. The next figure is a girl seated towards the spectator with her face three- quarters to the left, gazing at the dancers. She is dressed in a very pale mauve satin gown with low neck and short sleeves. She reposes in an easy attitude, resting her left elbow on the right leg of a merry- looking man who is seated beside her towards the spectator, and is also looking at the dancers. He wears a dark red cap, a white collar, a yellowish brown jacket, a green sash, yellow breeches, grey- stockings, and brown shoes; a dark red cloak hangs from his left shoulder. The landscape is subordinated to the figures. On the left, in the middle distance, is a small clump of trees, and beyond them a building from behind which smoke arises; the extreme distance is filled with blue haze and trees. Behind the group on the 3 6 PICTURES, DRAWINGS, ETC. right is a mass of trees overshadowing a large pedestal which supports a wide-brimmed stone vase. Canvas, re-lined; sight measure, 3of by 45^ inches. Formerly in the collection of Mrs. Lyne Stevens; sold at Christie’s (lot 358) on n May 1895. By Jean-Baptiste Pater (1695-1736). Lent by Mr. A. Vagliano. 23 PORTRAIT OF A LADY. Formerly supposed to represent the Duchesse de Chateauroux. Three-quarter face half-length portrait of a lady aged about forty, seated to the left and turning her brown eyes towards the spectator. She wears a low-cut grey dress embroidered at the top and waist with gold, and trimmed with lace. Yellow flowers are fixed in her powdered hair on the left side of her head, and a string of flowers hangs over her shoulders. Her left arm hangs down and is adorned at the elbow with a jewelled armlet; the hand is not visible. The right arm is covered w r ith a crimson mantle which fills the lower left-hand corner of the picture and appears also behind the figure, being fixed with a jewel at the left shoulder. Above, on the left, a stone column is dimly seen. The background is painted with brownish tones. The light falls from the left. Canvas, relined; sight measure, 31 by 24L inches. Brought from Paris about 1859. Reproduced in the Catalogue of the Pictures ... at Welbeck Abbey, 1894, by C. Fairfax Murray. Ascribed to Robert Levrac-Tournieres (1668-1752). Formerly attributed to Nattier. It must be pointed out that the style of the few well-authenticated portraits by Tournieres does not agree with that of this painting. Lent by His Grace the Duke of Portland, K.G. Plate XIV. 24 LA SURPRISE. A pair of lovers, seated on a stone bench by a fountain, are looking up at a woman who has come to warn them of approaching danger. The man, on the spectator’s right, wears a brown coat, breeches PICTURES, DRAWINGS, ETC. 37 and stockings of the same colour, a blue waistcoat embroidered with white, black buckle shoes, and round his neck a black ribbon. The lady is dressed in white but wears pink ribbons at her forehead, neck and wrists; her pink shoes peep from beneath her gown. She holds her right hand in a stream of water which pours from the mouth of a river-god’s mask into a shell-shaped basin. Above the man, on a pedestal, is the semi-recumbent statue of a water-nymph. Above the lady, behind a parapet, stands the faithful gouvernante , wearing a yellowish-brown dress and a white cap. Leaning with her right elbow on the parapet, she looks down at the lovers and points with both hands to the right. Behind her a patch of sky is framed above by a mass of foliage which fills much of the upper part of the back- ground. Oil painting on canvas, 26 I by 22 inches. An engraving by C. N. Cochin, apparently after this picture, but reversed, is reproduced as plate 173 of Historisch-Interessante Bildnisse und Trachten . . . a us dem K. Kupferstich-Cabinet in Miinchen , 1886-1889. The engraving is entitled La Gouvernante fidelc. The painting has been reproduced by a firm called Les Arts Graphiques , and photographed by Messrs. Braun et Cie. Signed near the bottom of the fountain, apparently as follows : J. DE TROY. 1723 By Jean-Francois de Troy (1679-1752). In the Victoria and Albert Museum ( Jones Collection). 25 JEANNE-ROSE-GUYONNE BENOZZI, called SYLVIA. An actress, and the wife of Antoine Balletti, called Mario. She died in 1758, aged 57. Three-quarter length, three-quarter face portrait of a girl stand- ino- and looking to the left. She has powdered hair and dark eyes and eyebrows. She wears a decollete purplish shot-silk dress; the bodice is trimmed with embroidery in silver and fastened with jewelled clasps, and part of a silver fringe on its lower edge is seen at her left hip; a greenish-yellow floating scarf hangs over her right shoulder and is held at the waist on her left side by a garland of 38 PICTURES, DRAWINGS, ETC. jessamine and other flowers; a blue toque ornamented with silver and pearls and finished with a sprig of jessamine is placed on the left side of her head. With her right hand she is plucking flowers from a plant growing in a tub on the left; with her left hand she retains her scarf and holds a spray of flowers and leaves. Dark background with purple curtain. The light falls from the right. Canvas; sight measure, 5of by STri inches. Shown in the “ Fair Women ” exhibition at the Grafton Gallery in 1894 (No. 52). Reproduced in the Catalogue of the Pictures ... at Welbeck Abbey , 1894, by C. Fairfax Murray. Ascribed to Jean-Francois de Troy (1679-1752), but not in agreement, as regards technique, with his most characteristic works. Lent by His Grace the Duke of Portland , K G. Plate XV. 26 L’ATTENTION DANGEREUSE. A nude girl, seated in profile to the right upon red and white drapery on a grey sofa, is watching the billing of two white doves. Her left foot rests on the floor; her right leg is crossed over the left, and the foot touches the sofa. Her left arm rests on the back of the sofa and with both hands she holds the edge of the white drapery, on which one of the doves stands with upstretched beak while the other hovers above it. The girl’s hair is bound with pink ribbons. A purple curtain hangs from above on the right and appears behind her on the left. In the background is the grey panelled wall of a room. The light falls from the left. Canvas; sight measure, 14-J by ii| inches. Exhibited at the Loan Exhibition of Works of French and English Painters of the Eighteenth Century at the Guildhall in 1902 (No. 125). Exhibited at the National Loan Exhibition at the Grafton Galleries in 1909-1910 (No. 102) ; reproduced in the illustrated catalogue of that exhibition. Engraved by Louis Dennel. By Francois Boucher (1703-1770). Lent by Mr. J. P. Hcscltinc. PLATE XV NUMBER 26 L’ ATTENTION DANGEREUSE FRANCOIS BOUCHER PICTURES, DRAWINGS, ETC. 39 27 A CARTOUCHE. Five cupids, three of whom are on the left and two on the right, are decorating with a garland a cartouche resting on clouds and surmounted by a coronet. Black chalk; sight measure, 19I by 17^ inches. An inscription on the left, Choisie pour panne cm . . ., is partly hidden by the mount. By Francois Boucher (1703-1770). Lent by Mr. Louis C. G. Clarke. 28 BERGERS ADORANT L’ENFANT JESUS (The Nativity). The Virgin reclines three-quarters to the right with her left hand outstretched over the head of the Child, who reclines to the left. In the foreground, a shepherd with a bottle tied at his waist, turning to the right with his back to the spectator, kneels with clasped hands towards the Child ; in the centre are an overturned basket and two fowls. To the left of the shepherd are a child seen three-quarters to the right, a woman in profile to the right and the head of a cow. On the right, behind the Child, a woman is seated to the right with her face in profile to the left; she holds a basket in her left hand and an egg (?) in her right. Behind her is a man turning to the left with his right hand to his forehead. On the extreme right a shepherd stands to the left with his back to the spectator; a lamb is slung from a pole which he rests on his left shoulder. In the background on the left, above the cow, Joseph reclines on an elevated couch and gazes at the scene below. Above the central group, an angel, holding a scroll and looking upwards, reclines from left to right upon clouds; below her are four cherubs’ heads. Signed at the bottom in the right-hand corner, F Boucher. Sepia and Chinese white; \‘}\ by 12^ inches. Probably a study for the painting which Boucher executed for the Chapel of the Chateau de Bellevue and exhibited at the Salon in 1750. By Francois Boucher (1703-1770). Lent by Mr. Henry Oppenheimer. 40 PICTURES, DRAWINGS, ETC. Plate XVI. 29 SHEPHERDESS AND CUPID. On the left of the composition a half-draped female figure is seated three-quarters to the right with her face averted. A loose garment, touched with blue, leaves her breast and legs bare. Her left elbow rests upon a bank. On the ground by her are a small dog and a hat. The cupid, who is also half-draped, is seated three-quarters to the left, facing the shepherdess. Near him are three sheep, one of which is standing. On the right is part of a low shelter; behind it are trees. Signed at the bottom on the right, F. Boucher. Crayon; sight measure, 12^ by 13^ inches. By Francois Boucher (1703-1770). Lent by Mr. Maurice Rosenheim. Plate XVII. 30 NYMPHE COUCHEE SURPRISE PAR UN SATYRE. An almost nude nymph or bacchante, inclined from left to right, reposes, feigning sleep, on a mass of white, yellow, and pink drapery near the foot of a tree. Her left hand supports her head, which is seen in profile; her right arm hangs loosely down; her right leg is extended, and the left leg is partly drawn up. Her hair is bound with a pink ribbon, and she wears a slight drapery of white with pale green stripes. In the foreground, on the left, near her right hand, lie her tambourine and wand and a small heap of grapes and apples. On the right is a small pool. The tree rises from a mass of foliage and slopes upwards to the left over a stone pedestal supporting a semi-recumbent mythological figure with an urn; a broken stump of the tree is inclined to the right. A ruddy satyr, seen to the waist, advances cautiously from behind the rock and gazes with an eager expression at the nymph, whose half-open eyes suggest that she is not wholly unconscious of his approach. In the middle distance are masses of trees, and the upper portion of the background shows a cloudy sky. Gouache; sight measure, 1 8 A by 14^ inches. Some of the high lights have become discoloured. By Jacques Charlier, probably after Franqois Boucher. Lent by Mr. A. Vagliano. SHEPHERDESS AND CUPID PL AT E XVII NUMBER 30 NYMPH & SATYR CHARLIER, AFTER BOUCHER NUMBER 31 j EAN - PH I U PP E D’ORLEANS PLAT E XVIII JEAN-MARC nattier plate XIX LA NYMPHE DE LA SOURCE (MADAME VICTOIRE) JEAN M A R C N I F R PICTURES, DRAWINGS, ETC. 4i 31 JEAN-PHILIPPE D’ORLEANS, GRAND PRIEUR DE Plate XVI 1 1 . FRANCE (Born 1702, died 1748). Portrait of a vigorous-looking man in the prime of life. He turns three-quarters to the left and is seen to the waist. His right arm is extended; his hands are not visible. He has brown eyes, a straight nose, a rubicund complexion, and is clean-shaven. He wears bright armour of a pale bluish tone; the edging of the plates is gilt. The lower parts of his arms are not covered with armour and the sleeves of a leather coat are thus visible. On his white stock is the jewelled head of a pin. In the background is a dark sky with glimpses of blue. The light falls from the left. Canvas, relined ; sight measure, 3 if by 254 inches. By Jean-Marc Nattier (1685-1766). Lent by Mr. G. Harland-Peck. 32 VICTOIRE- LOUISE- MARIE -THERESE DE FRANCE, Plate XIX DAUGHTER OF LOUIS XV (“MADAME VICTOIRE”). This portrait-fantasy has been described as La Nymphe de la Source. It is possible, however, that the role of the young princess is that of l' Eau, in the series Les Elements. A three-quarter length, full-face portrait of a girl, seated upon a bank towards the spectator. She has brown hair, dark-brown eyes, a rather round face and a slight double chin. She wears a decollete white dress, with a string of pearls over her left shoulder and another at her waist. A greenish-blue cloak is thrown across her knees and fills the bottom of the picture except at the right-hand corner. Her left arm rests upon an urn from which a stream of water pours towards the corner of the picture. Her right sleeve is turned up above the elbow, and her right hand rests upon her left wrist. On the right of the composition grows a clump of the sword-like leaves of the wild iris, of which two small blooms are visible. The background is of drab tints, with a suggestion of clouds. The light falls from the left. Signed on the extreme right near the urn, Nattier I p . . x / 1739. Canvas, relined; sight measure, 38-ps by 30-f inches. A reproduction faces p. 24 of The Art Collection of Mr. Alfred Beit , 1904, by Dr. W. von Bode. By Jean-Marc Nattier (1685-1766). Lent by Mr. Otto Beit. F 42 PICTURES, DRAWINGS, ETC. 33 MADAME DE CAUMARTIN. Bust portrait of a lady turning three-quarters to the left and looking towards the spectator. Her powdered hair is decked with forget-me-nots, small red roses, and a string of pearls. She has expressive brown eyes, a straight nose, a small firm mouth, and red cheeks. Round her neck is a string of flowers. She wears a low- necked white bodice with a bow in front. A blue cloak or scarf is pinned at her left shoulder with a small jewelled brooch. The back- ground is of brownish tints. The light falls from the left. Signed on the left: Nattier, j pinx. 1761. Canvas, relined; oval; 23I by ig| inches. By Jean-Marc Nattier (1685-1766), Lent by Mr. G. Harland-Peck. 34 DANAE AND THE GOLDEN RAIN. Danae, very slightly draped, is seated on a couch almost towards the spectator; her left arm rests on a pillow; in her right hand she holds a coin. A winged cupid, pulling at her drapery with his right arm, stands on the couch amid a shower of coins. In the fore- ground on the left kneels an old woman, seen from behind, three- quarters to the right; she is busy picking up coins from the floor. In the background on the left is shown the rounded wall of the room; on the right is a curtain. Pencil ; iopf by \2\ inches. Ascribed to Jean-Marc Nattier (1685-1766). Lent by Mr. Maurice Rosenheim. 35 PHILIPPE-ELISABETH D’ORLEANS, MADEMOISELLE DE BEAUJOLAIS (?). Three-quarter length, life-size, nearly full-face portrait of a young lady standing slightly to the left and looking towards the spectator. Her eyes are dark; her hair is powdered and decked with flowers. Her dress is of silver brocade, with lace-edged sleeves looped up at the elbow with a jewel and ornamented with roses. The front of the bodice and the skirt are decorated with flowers and leaves. A blue floating scarf, the end of which is seen at her back, passes beneath JEAN-BAPTISTE- SIMEON CHARDIN PICTURES, DRAWINGS, ETC. 43 the right arm and in front of her; in the folds lie flowers to which she is about to add another, which she is picking with her right hand from an orange tree growing in a large brass vessel on the left. With her left hand she holds the scarf. The background is a distant landscape with a cloudy sky. Canvas; sight measure, 57 by 44^ inches. In a fine Louis Ouatorze frame. Reproduced in the Catalogue of the Pictures ... at Wei deck Abbey, 1894, by C. Fairfax Murray. French School (artist unknown); first half of eighteenth century. Lent by His Grace the Duke of Portland, K.G. 36 LES TOURS DE CARTES. Plate XX. Interior, with three figures at a small table, which is covered with a red and black cloth. On the left a young man is seated in profile to the right, holding in his hands, which rest upon the table, some cards with which he is doing a trick to amuse two little girls. He wears a three-cornered hat and a purplish coat, and his hair is tied at the back with a large bow. One of the children stands behind the table; the other, wearing a scarlet coat, stands to the left at the right-hand end of the table; both are intently watching the progress of the trick. In the background on the right is a desk. The light falls from the left. Canvas; sight measure, 12 by i5fV inches. Purchased in 1898. According to the official catalogue of the National Gallery of Ireland, this picture was formerly in the collection of M. Despuechs, banker. It is perhaps the canvas exhibited by Chardin in 1743. The subject was engraved in reverse by P.-L. Surugue in 1744. A similar picture was exhibited at Brussels ( Exposition d’art frangais du XV I II e siecle ) in 1904; it is reproduced in The Fifth Hundred of Paintings by Old Masters belonging to the Sedelmeyer Gallery, 1899, No. 74. ByJ ean-Baptiste-Simeon Chardin (1699-1779). Lent by the National Gallery of Ireland, Dublin. 44 PICTURES, DRAWINGS, ETC. Plate XXI. 37 LE GARCON CABARETIER. Interior of a cellar with the full-length figure of a lank youth turning to the right with his face in profile. His right hand grasps the wooden handle of an instrument with which he is busy making wine in a large jug. He wears a white head-covering, a white shirt with sleeves rolled up to the elbow, a large white apron, and buckled shoes. A large key hangs from his waist on a blue ribbon or cord. In the foreground on the left stands a large earthenware jar with its handle turned towards the spectator; in front of the tub are a bottle, in the neck of which a funnel has been placed, and a vermilion triple porte-bouteilles. In the background is a grey wall, part of which, behind the figure, is in shadow; a slate hangs on the lighter portion of the wall, and on the extreme right are a sloping pole and a con- struction of wood. The light falls from above on the left. Signed chardin on the background on the left. Canvas; sight measure, 17 by 13^ inches. Formerly the property of Dr. William Hunter (b. 1718, d. 1783). Exhibited at the Salon du Louvre in 1738. Exhibited at the Whitechapel Art Gallery in 1906. Reproduced in the Burlington Magazine, vol. xi, page 246. An engraving by C. N. Cochin of this painting was exhibited at the Louvre in 1740. Lithographed by S. Teissier. Pictures by Chardin entitled E Ecureuse and Lc GargonCabaretier were sold together in the Comte de Vence sale, 1760, and in that of the Menars collection, 1782. M. Camille Marcille possessed a Gargon Cabaretier on panel (E. Bocher, Catalogue de /’ CEuvre de Chardin , 1876, p. 97). For bibliography, etc., see No. 24 on page 61 of the catalogue of Chardin’s works, by jean Guiffrey, appended to Armand Dayot’s J.-B. Simeon Chardin. By J ean-Baptiste-Simeon Chardin (1699-1779). Lent by the University of Glasgow ( Hunterian Museum ). Plate XXII. 38 L’ECUREUSE. Full-length figure of a scullery-maid in profile to the left. She stoops slightly and is scouring a frying-pan over a wooden barrel-tub. PLATE XXI number 37 LE GAR£ON CABARETIER - baptiste-simeon JEAN CHARDIN PLATE XXII NUMBER 38 L' ECUREUSE JEAN - BAPTISTE- SIMEON CHARDIN DAME PRENANT SON THE PICTURES, DRAWINGS, ETC. 45 She wears a white cap, a white dress with loose sleeves turned up to show her wrists, and a pale yellow apron. Round her neck is a narrow blue ribbon. The handle of the frying-pan projects from beneath her left arm. At her feet, in the right-hand corner of the picture, is a small green earthenware pan with a handle; in the left- hand corner lies a copper frying-pan with iron handle; against the left side of the tub is a brass, iron-handled vessel the interior of which is turned towards the spectator, and behind it stands a tubular vessel of earthenware. The light falls from above on the left, and a back- ground of greenish-brown tones throws the figure into relief. Signed on the background on the left : chardin Canvas; sight measure, 17 by 13^ inches. Chardin exhibited a Recureuse at the Salon du Louvre in 1738 . Formerly the property of Dr. William Hunter. Exhibited at the Whitechapel Art Gallery in 1906. Reproduced in the Burlington Magazine , vol. xi, page 64. The subject was engraved by C. N. Cochin and H. Zanelly and etched by C. Jacque. Pictures by Chardin entitled L' Ecureuse and Le G argon Cabare- tier were sold together in the Comte de Vence sale, 1760, and in that of the Menars collection, 1782. M. F. Doistau lent a repetition called La Menagere to the French Exhibition at Brussels in 1904. Jean Guiffrey, on page 61 of his catalogue of Chardin’s works appended to Armand Dayot’s J.-B. Simeon Chardin ( q.v . for bibliography of the picture), mentions two repetitions in the collection of Baron H. de Rothschild. ByJ ean-Baptiste-Simeon Chardin (1699-1779). Lent by the University of Glasgozv ( Hunterian Museum ). 39 DAME PRENANT SON THE. Plate XXI 1 1 . Short three-quarter length figure of a fresh-complexioned young woman seated to the right at a red lacquer table with her head in profile. She is seated on a plain brown wooden chair part of the three- barred back of which is seen on the extreme left. Her figure falls almost entirely within the left half of the composition and she is so placed that her back is just visible. She wears a small white cap with blue ribbon ; her short curly hair is powdered ; a dark grey shawl, orna- 46 PICTURES, DRAWINGS, ETC. merited with darker spots, envelops her bust and is tied round her waist. Her dress is of whitish material, with broad stripes of greenish- grey edged with red. Of the table, which is placed at an angle, only the upper part is visible; it occupies the lower part of the right half of the picture. A drawer in the end of the table is partly open. In front of the lady a white teacup with blue design stands in a saucer. She looks down at the cup, grasping it with her left hand while she stirs its steaming contents with a spoon held in her right. A brown glazed earthenware teapot, with red reflections from the table, stands further to the right. The background, on which the painted panelling of a room is indicated, consists of gray and brown tones. The light falls, somewhat from above, from the left and fills the room, enveloping the figure. Signed on the extreme right of the background near the teapot, J. B chardin | 1 736(F). Canvas; sight measure, 3 of by 38^ inches; one of the artist’s largest pictures. Formerly the property of Dr. William Hunter. Exhibited at the Salon du Louvre in 1739. Exhibited at the Whitechapel Art Gallery in 1906. Engraved by Pierre Filloeul. Reproduced in the Burlington Magazine , vol. xii, page 48. For bibliography, etc., see No. 23 on page 61 of the catalogue of Chardin’s works, by Jean Guiffrey, appended to Armand Dayot’s J-B. Simeon Chardin . By Jean-Baptiste-Simeon Chardin (1699-1779). Lent by the University of Glasgow (. Hunterian Museum). 40 LA BLANCH ISSE USE. Interior of a cottage, with three figures. Slightly to the left of the centre of the composition a large brown wooden tub containing linen stands on a rectangular stool. To the left of the tub, partly behind it and stooping slightly over it, is a woman standing three- quarters to the right and turning her face three-quarters to the left. She wears a white cap which hangs down on either side of her face, a reddish-brown striped bodice with short skirt, a blue under-skirt and a white apron ; her sleeves are rolled up to the elbow, and her hands, of which the left is hidden, are held over the tub. A brown shoe on PICTURES, DRAWINGS, ETC. 47 her right foot is seen close to the stool. In front of the tub a little boy blowing a bubble is seated on a low chair three-quarters to the left, with his face in profile. He wears a white cap with red border, a brown coat and breeches, a blue waistcoat and stockings, and grey shoes. His left knee is bare. On the extreme left of the picture stands a brown rush-bottomed chair turned towards the spectator; on the seat are a grey cloth and a piece of soap; in front of the chair is a large red earthenware bowl glazed inside with green, and containing washing. On the floor near the right-hand edge of the picture, behind the boy, is a cat with black, red, and white markings; behind the cat, on the extreme right, is seen part of a tapering ladder on which a white garment hangs. In the background is the brown and grey wall of the room on which, to the left of the woman s figure, hangs a large print; to the right is a bunch of clothes-pegs and further to the right is a half-open door hinged on the right and opening towards the spectator. Against it, behind the ladder, is an earthenware bowl in which stands a besom or mop. Through the doorway is dimly seen in another room the full-length figure of a woman standing with her back to the spectator, and hanging clothes on a line. She wears a white cap and a brownish dress with red sleeves. The light tails from the left. Panel, 15I by 17J inches. Formerly in a private gallery at Lisbon. Exhibited at the Exhibition of Works of the Old Masters at the Royal Academy in 1880 (No. 33). Exhibited at the Loan Exhibition of Pictures by Painters of the French School at the Guildhall in 1898 (No. 68). See No. 28 on p. 61 of Jean Guiffrey’s catalogue of Chardin’s works appended to Armand Dayot’s J.-B. Simeon Chardin ; this picture is reproduced on p. 75 of the latter work. Similar pictures are in the Hermitage at St. Petersburg and the National Museum at Stockholm. A reproduction of the latter faces p. 120 of Lady Dilke’s French Painters of the XVIIIth Century , 1899. Another version, belonging to Baron Henri de Rothschild, is reproduced on p. 235 of L Art et Les Artistes, iii, 1906. The subject was engraved by C. N. Cochin. ByJ ean-Baptiste-Simeon Chardin (1699-1779). Lent by Sir Frederick Cook , Bart. PICTURES, DRAWINGS, ETC. LA FONTAINE. Interior of a cellar or scullery paved with square tiles, with a young" woman drawing water from a tall circular copper cistern placed on a wooden stand. On the right of the composition, the woman, seen in profile to the left, stoops over a green jug held in her left hand over a wooden bucket beneath the spigot which she holds in her right. She wears a white cap, a white bodice, a blue apron and a skirt with indistinct stripes of blue, red and brown. To the left of the cistern, three small logs lean against a brown barrel standing on end ; on the top of the barrel are a whitish cloth and a brass, iron-handled vessel of which the interior is visible; in front of the barrel is an iron frying-pan, partly hidden by a small charcoal stove; between the barrel and the cistern and in front of the logs is a besom the handle of which touches that of the frying-pan. A large piece of raw meat hangs from the ceiling slightly to the left of the cistern. In the background is the brownish wall of the room, through which, on the right, a door, hinged on the left, opens away from the spectator into an adjoining room with greyish walls, which is approached by one or two steps. The door partly conceals the figure of a woman standing in profile to the right and stooping slightly as she sweeps the floor. She wears a white cap and fichu and a brownish dress. On the extreme right, in the further room, is another doorway in which a red-haired child, dressed in blue and white, stands facing the specta- tor. The light falls from above on the left. Signed chardin on the barrel. Panel, 15! inches by 17^ inches. Formerly in a private gallery at Lisbon. Exhibited at the Royal Academy, Old Masters Exhibition, in 1880 (No. 41). Exhibited at the Loan Exhibition of Pictures of the French School at the Guildhall in 1898 (No. 52). Similar pictures are in the National Gallery, the National Museum at Stockholm, and Mine. Jahan-Marcille’s collection at Paris. Mr. G. Harland-Peck lent a version on canvas to the Loan Exhibition of Works by French and English Painters of the Eighteenth Century at the Guildhall in 1902 (No. 124). The subject was engraved by C. N. Cochin. PICTURES, DRAWINGS, ETC. 49 See No. 29 on page 62 of catalogue by Jean Guiffrey of Chardin’s works, appended to Armand Dayot’s J--B. Simeon Chardin. By Jean-Baptiste-Simeon Chardin (1699-1779). Lent by Sir Frederick Cook , Bart. 42 PORTRAIT OF XAVIER LE PRINCE, FILS. Three-quarter face bust-portrait of a brown-eyed child turning to the left but glancing slightly to the right. He wears a large black cap ornamented on the spectator’s left with a scarlet rosette and at the top with a black ostrich feather which hangs over to the right; the cap is slashed to show a white lining which is also visible at either temple. His ears are hidden ; his neck is bare save for a narrow strip of ribbon tied around it. The upper part of his dress, round the shoulders, is of loose white material; below this the garment is pink, but the short sleeves are of blue, surrounded with bands of pink braid and trimmed with white above the elbows. The figure is cut short by a dark brown wooden batten which slopes upwards from the right. The background is of dark brownish tones. The light falls from the left. Inscribed chardin on the batten on the left. Canvas, relined; 15! by i2§ inches. By Jean-Baptiste-Simeon Chardin (1699-1779). Lent by Mr. G. Harland-Peck. 43 LE FAISEUR DE CHATEAUX DE CARTES. Half-length figure of a youth in profile to the left, seated facing a window at a card table the top of which is covered with green baize. He has taken some cards from a partly open drawer in the side of the table which faces the spectator and is looking down at a house which he is building with them on the table. He wears a black hat, a grey coat lined with blue, and a white shirt the sleeves of which are seen at the wrists. His queue is tied with a blue ribbon, and a lock of hair falls on his cheek. In his left hand he holds an ace of hearts. Two coins lie near the corner of the table. On the left is a crimson curtain with tassel and cords; behind it is seen a small portion of the window. Most of the background is filled by a grey wall. G 50 PICTURES, DRAWINGS, ETC. Signed on the background on the right J. B chardin. Canvas, relined; sight measure, 30-J by 39^ inches; one of the artist's largest pictures. A similar painting, but without the curtain, was lot 135 in the Doucet sale at Paris in June 1912: it is reproduced in Lady Dilke’s French Painters of the XVI I It Ji Century, 1899 (facing page 128), and in the catalogue of the sale. The painting in the Doucet col- lection is stated to be that exhibited in 1741 as le fils de M. Lc Noir s' am us ant a faire des chateaux de cartes. Another version, reversed and with different accessories, was in the Sedelnteyer sale at Paris in 1907; other still more divergent versions of the same subject are in the Louvre, the Hermitage, and elsewhere. By J ean-Baptiste-Simeon Chardin (1699-1779). Lent by the Rt. Hon. Lewis Harcourt , M.P. 44 STILL LIFE. A group of kitchen utensils and articles of food on a stone slab. On the right is a small green glazed terrine with hollow handle sloping upwards to the right. Next to it on the left is a small brown mortar containing a pestle, which partly hides a round copper stew- pan with lid ajar and iron handle leaning over to the right. In front of this vessel are three eggs, and part of its edge on the left is hidden by a round cheese from which a quarter has been cut. Two leeks, the roots of which project over the edge of the slab, and two small brown onions lie in front of the mortar and terrine. A plain background shades off from grey to brown towards the left. The light falls from the left upon the objects. Signed on the edge of the slab on the left, chardin. Canvas, relined, 13 by 16 inches. Acquired in London in 1901. Exhibited at the Mauritshuis, The Hague, from 1901. Reproduced in Les Arts , 1902, No. 12, p. 20. By j ean-Baptiste-Sim£on Chardin (1699-1779). Lent by Dr. A. Bredius. NUM MARQUISE DE POMPADOUR IN THE HABIT OF A PILGRIM LO U IS VIGEE PLATE XXIV PICTURES, DRAWINGS, ETC. 5 ' 45 JEAN DUMONT (thus described in earlier catalogue). Miniature portrait. Half-length, three-quarter face, portrait of a brown-eyed man turning to the right and looking towards the spectator. He wears a powdered wig, a stock and frill and a dark greenish coat. Brown background. The light falls from the left. On ivory; oval; sight measure, i t 7 « by ijr inches. Exhibited at the Burlington Fine Arts Club in 1889. ByjEAN Dumont (?)( 1 701-1 781 ). Lent by Mrs. Hornsby Drake. 46 PORTRAIT OF A MAN. Short three-quarter length portrait of a young, clean-shaven dark-eyed man facing three-quarters to the left and looking towards the spectator; his body is turned slightly to the right. His right hand rests on the edge of a table or slab. A gesture of the left hand turns its palm outwards. His purple hat is turned up in front and ornamented with gold braid; he wears a dark green coat with gilt buttons, and a white shirt appears at the neck and wrists. A purple cloak covers his right side and waist and the lower part of the left arm. The background is of a dark greenish colour. The general tone of the picture is rich but sombre. The light tails from the left. Canvas, relined; sight measure, 40A by 29^ inches. Ascribed to Philippe Mercier (1689-1760). Lent by Mr. G. H. Shepherd. 47 SUPPOSED PORTRAIT OF THE MARQUISE DE POMPA- Plate XXIV. DOUR AS A PILGRIM. Half-length, nearly full-face portrait-study of a young woman turning to the right with her body almost in profile, and glancing to the left with a faint smile and an arch look in her dark brown eyes. A small straw hat, decorated in front with a black feather and a blue ribbon, is set jauntily on the left side of her head; large drop pearls hang from her ears and a triple string of pearls encircles her neck. She wears a short blue frilled cape ornamented with small scallop shells, and a greenish bodice with red roses fixed at the breast and waist. In her right hand she grasps a pilgrim’s staff. The background is mostly of blue. The light falls from the left. There is a similar pastel, about the same size, in the collection 52 PICTURES, DRAWINGS, ETC. of the Comedie Francaise, where it is described as a portrait of Mademoiselle Dangeville in the part of Colette, in the Trois Consines of Dancourt. No. 255 in the Catalogue by Monval, reproduced in the Revue de l’Art, xvi, p. 187 (1904). Signed at the bottom on the right L. vigee | pinxit 1745. Pastel; sight measure, 24A; by 2o\ inches. By Louis Vigee (died 1767). This artist was the father of the more famous Madame Vigee Le Brun. Lent by Mr. G. Harland-Peck. 48 A TURKISH GENTLEMAN. Seated on the corner of a divan, full-face, smoking a long pipe. In red and black chalk. Sight measure, 8f by inches. By Jean-Etienne Liotard (1702-1789). Lent by Mr. Otto C. H. Gutekunst. Plate XXV. 49 A TURKISH LADY. Seated, nearly full-face, on a divan with a skein of silk in her hand. In red and black chalk. Sight measure, 8§ by 6f inches. By Jean-Etienne Liotard (1702-1789). Lent by Mr. Otto C. H. Gutekunst. 50 PORTRAIT OF JAMES DAWKINS, ESO. According to Burke’s Landed Gentry , James Dawkins was born in 1722 and died in 1757. He was Member of Parliament for Hindon, and was a great traveller in Asia Minor. Short half-length, three-quarter face portrait of a clean-shaven, blue-eyed man aged about twenty-five, turning to the right and glancing slightly to the left with a mild, amiable expression. His powdered wig is tied at the back with a black bow. He wears a bright blue coat with silver buttons, and a white stock and cravat. A copper-coloured cloak is thrown around him in loose folds below the level of the shoulder. The background is filled with various tones of grey, with a bluish tinge near the face. The light falls from above on the left. * A TURKISH LADY J t AN - ETIENNE LI OTA R D PLATE XXVI NUMBER 51 PORTRAIT OF HENRY DAWKINS MAURICE- QUENTIN DE LA TOUR PORTRAIT OF PETRUS WOORTMAN jean-baptiste perronneau PICTURES, DRAWINGS, ETC. 53 Pastel. Sight measure, 22-|- inches by i8§ inches. Formerly the property of the Rev. E. H. Dawkins of Morhanger House, near Sandy, Bedfordshire. Sold at Christie’s (lot 17) on 28th February 1913 as the work of Rosalba. French School, artist unknown : middle of the eighteenth century. Lent by Mr. Lockett Agnew. 51 PORTRAIT OF HENRY DAWKINS, ESO. Plate XXVI. According to Burke’s Landed Gentry, Henry Dawkins of Over Norton, Oxfordshire, was born on 24th May 1728 and died in 1814. He was for many years Member of Parliament for Southampton. Half-length, nearly full-face portrait of a clean-shaven, brown- eyed man of about thirty-five, turning slightly to the right and looking towards the spectator. He wears a short powdered wig tied at the back with a black bow, a pink velvet coat showing a small portion of white lining, and a pale blue waistcoat embroidered with a floral design. A white stock is almost hidden by a black ribbon tied in a bow in front. His right arm is seen to the elbow; under his left arm he carries a black hat; his left hand is thrust into his waistcoat, but the wrist, surrounded by a white frill, is visible. The background is of various tones of grey which are darkest on the left. The light falls from in front, slightly to the left. Pastel. Sight measure, 25 by 2of inches. Formerly the property of the Rev. E. H. Dawkins of Morhanger House, near Sandy, Bedfordshire. Sold at Christie’s (lot 18) on 28th February 1913. By Maurice-Ouentin de la Tour (1704-1788). Lent by Mr. Lockett Agnezu. 52 PETRUS WOORTMAN (Born 1729, died 1791). Plate XXVII. Half-length portrait (in a painted oval) of a stout, clean-shaven, double-chinned man turning three-quarters to the right and looking towards the spectator. He has dark eyes and eyebrows; a short powdered wig covers his ears. His left hand, resting on the oval on the right, holds a small leather-covered volume. He wears a brownish 54 PICTURES, DRAWINGS, ETC. purple robe and a stole embroidered with a floral design in red, blue and yellow ; the upper part of the stole is covered with white lace. Back- ground of greys and browns. The light falls from above on the left. Signed at the top on the right, Perronneau. | 1771. Canvas, relined; sight measure, 30 J by 23^ inches. Formerly in the Church of Moses and Aaron at Amsterdam. See No. 128 on page 104 of L. Vaillat and P. R. de Limay’s J.-B. Perronneau', the painting is reproduced on plate 63 of that work. By Jean-Baptiste Perronneau ( 1 7 1 5 ?-i 783). Lent by Mr. C. S. Carstairs. 53 HENRY BENEDICT STUART, CARDINAL YORK. Three-quarter length, three-quarter face portrait (in a painted oval) of a clean-shaven man seated to the left. His brown eyes look towards the spectator. His left arm rests on the arm of his chair, and his right hand on a leather-covered volume. His powdered wig is tied at the back with a ribbon. He wears a white stock, a frilled shirt, and a blue coat edged with brown fur and ornamented in front with gold braid. A crimson cloak hangs over his right arm and appears behind him and on the arm of the chair. The back- ground is touched with grey and brown tones. The light falls from the left. Canvas, relined; 38^ by 28 inches. Ascribed to Louis-Gabriel Blanchet (working 1727-1757). Lent by Mr. T. W. Bacon. Plate XXVI II. 54 DAMES MALTAISES. Two ladies and a maid, all dressed in voluminous black Maltese cloaks, which cover their heads, are walking on a road near massive stone walls. The ladies, who both wear white veils and black skirts, are seen in the foreground, looking at each other. One of them, on the left, turns three-quarters to the right, and raises her cloak with both hands. The other, in the centre of the picture, turns three- quarters to the left and holds the edges of her cloak with both hands; she has an embroidered red bodice. To the right, slightly in PLATE XXVIII NUMBER 54- DAM E S M ALTAI S E S CHEVALIER A.DE FAVRAY NUMBER 55 marie-jean herault de sechelles FRANfOlS - HUBERT DROUAIS plate xxx PRINCESSE MARIE-ADELAIDE-CLOTILDE fran^ois-hubert drouais PICTURES, DRAWINGS, ETC. 55 the rear, is a woman of swarthy complexion, turning three-quarters to the left, and looking downwards. In the background a cactus grows on a wall, over which is seen the top of a palm-tree inclined to the right. The light falls from the left. Canvas; sight measure, 29 by 24^ inches. By the Chevalier Antoine de Favray (1706-1791), who worked for many years at Malta. There are two paintings by him in the Louvre: “ Dames Maltaises se rendant visitc," and “ Portrait dc Dame Maltaise , ” Lacaze collection. Lent by Sir Claude Phillips. 55 MARIE-JEAN HERAULT DE SECHELLES (Born in 1760; Plate XXIX guillotined in 1794). Half-length, nearly full-face portrait of a little boy turning three-quarters to the left. He has dark brown eyes, rosy cheeks, and blonde hair, and his lips are slightly parted. He wears a white ruff and a white coat, buttoned in front with large white buttons ; his grey felt shovel hat is ornamented with a white rosette. His hands are thrust into the side pockets of his coat. The background is of grey and brown tones. The light falls from the left. Signed on the background on the left Drouais le fils.) 1763. Canvas, relined; oval; sight measure, 27^ by 22 inches. Formerly in the collection of the Duchesse de Crillon; men- tioned by Paul Lacroix on p. 126 of the Annuaire des Artistes, 1861. A similar painting was in the F. Doistau collection and was sold at Paris (lot 25) in June 1909; it is reproduced in the sale catalogue. By Francois-Hubert Drouais (1727-1775). Lent by Dr. Magin. 56 PRINCESSE MARI E-ADE LAI DE-CLOTILDE, SISTER OF Plate XXX LOUIS XVI (1759-1802). Half-length, under life size; seated to right, head turned to left; white and violet striped dress trimmed with pink and white ribbons, 56 PICTURES, DRAWINGS, ETC loose figured gauze scarf round the throat, fastened under the chin with a bow striped like the dress trimmings, a basket of flowers under right arm resting on the arm of chair, pointing with left, which is crossed in front of her. Bodice edged with lace at the neck, lace ruffles, powdered hair with roses set in it; arm of gilt chair to left; dark yellow background. She was painted by Drouais in 1767, in the company of her brother Charles-Philippe, Comte d’Artois. Canvas. By Francois- Hubert Drouais (1727-1775). In the possession of the Duke of Portland, K.G. 57 RUSSIAN PEASANT WOMEN. A costume-study. A group of five female figures in Russian costumes. One, on the left, stands towards the spectator with her face turned three- quarters to the right; another is seen in profile to the right; two stand with their backs to the spectator, while the fifth turns three- quarters to the left. On the left is the bank of a stream. Signed at the bottom on the right, Le Prince 1738. Inscribed at the bottom on the left, Habiliment des femmes Schouvaches peuple de russie. Pen, pencil, and wash; iof by 15^ inches. By Jean-Baptiste Le Prince (1733-1781). Lent by Mr. Maurice Rosenheim. Plate XXXI. 58 VIEW OF AN ITALIAN PORT. Early morning scene. In the immediate foreground on the left is a small creek edged with rocks which continue on the right to the foot of a precipice crowned with bushes. The creek opens into a larger basin which in the middle distance joins an extensive harbour. By the rocks on the extreme left is seen the stern of a moored vessel; near it are a man and woman; six men are busy preparing a rowing boat for departure. On the right bank of the creek a man in a white shirt and blue breeches is seated fishing ; further off on the rocks are six fishermen, four seated, two standing; on the extreme right, at I PLAT E XXXI CLAUDE-JOSEPH VERNET PICTURES, DRAWINGS, ETC. 57 the foot of the cliff, two men are boiling a pot over a fire, while three others are rolling up a net which has been drying with others on a pole. On a small projecting cliff two figures, one standing, the other kneeling, are seen against the sky. In the middle distance, on the left, a number of men are hauling in a large net the floats of which extend across the water to the right. Boats lie on the beach, which terminates in a wharf surmounted by a lighthouse. Behind the wharf are the masts and sails of several vessels. Mountainous heights rise dimly out of the haze on the left and gradually lose themselves in it towards the centre behind some vessels floating on a calm sea. The sun has risen out of the haze and is dimly seen in a cloudy sky, slightly to the left of the centre. Canvas, re-lined; sight measure, 38 by 53 inches. By Claude-Joseph Vernet (1714-1789). Lent by Sir George Hoi ford, K.C. l.O . , C.I.E. 59 TIVOLI. Scene in a rocky valley, with a river. In the centre of the middle distance rises a precipitous hill on the summit of which are perched the Temple of Vesta and other buildings; a small bridge on the left spans a ravine which separates the hill from a nearer eminence on the left, crowned with a ruin. In the immediate foreground the stream, which has just been joined by a cascade on the left, descends in a low waterfall towards the spectator. On the bank to the right are three figures, one man sketching while another carries a portfolio; the third, who wears a red coat, is pointing upwards to the left. Further off is a group of four fishermen; two are fishing while the others are carrying a net. On the extreme right two women are walking away from the spectator past a group of trees. A distant hill on the right is joined to the hill in the centre by an aqueduct. Here and there birds are seen flying. Warm tones in the partly clouded sky suggest that it is eventide. The light falls from the right and leaves most of the foreground in shadow. Canvas, relined; sight measure, 37^ by 52I inches. By Claude-Joseph Vernet (1714-1789). Lent by Sir George Hoi ford, K.C. V.O., C.I.E. H 5 § PICTURES, DRAWINGS, ETC. Plate XXXII. Plate XXXIII. Plate XXXIV. Plate XXXV. Plate XXXVI. 60 TWO PORTRAIT-STUDIES IN PENCIL. By Gabriel de Saint-Aubin (1724-1780). 61 THREE PORTRAIT-STUDIES OF MDLLE. CLAIRON, THE FAMOUS TRAGIC ACTRESS (IN PENCIL). By Gabriel de Saint-Aubin (1724-1780). 62 TWO PORTRAIT-STUDIES IN PENCIL, OF WHICH THE ONE IN PROFILE REPRESENTS THE PRINCESSE DE CONTI. By Augustin de Saint-Aubin (1736-1807). These portrait-studies, Nos. 60, 61 and 62, are from an album of drawing's in water-colour, wash, pen, and pencil by the Saint-Aubin family. Lent by Madame la Comtesse de Bearn. In addition, the members of the Club were indebted to the Com- tesse de Bearn for the loan of Two Catalogues of Picture Sales with thumbnail sketches in pencil drawn by Gabriel de Saint-Aubin by way of annotation, in the margin, against their respective numbers. 63 THE DUET. The scene is the interior of a richly yet soberly furnished room. At the harpsichord is seated an elegantly attired lady, on the point of attacking her part in the duet, while erect at the side of the harpsichord stands motionless, her youthful partner, holding his violin and bow in an attitude of expectancy; he is waiting, as we may guess, for the entry of his instrument. An atmosphere of repose and intimacy pervades this touchingly simple genre scene. Gouache; sight measure, 4 by 6| inches. By Augustin de Saint-Aubin (1736-1S07). Lent by the Earl of Carnarvon. 64 LA VERTU CHANCELANTE. Interior of a small, barely furnished garret, with the full-length, nearly full-face figure of a girl sitting three-quarters to the right on a plain rush-bottomed chair by the bedside, and holding in the palm of her left hand a gold watch, doubtless a tempting present from one PLATE XXXII TWO PORTRAIT STUDIES PLATE XXXIII three portrait studies of mademoiselle clairon (the famous tragic actress) GABRIEL DE SAINT-AUBIN PLATE XXXIV AUGUSTIN DE SAINT-AUBIN PLATE XXXV A U C U ST I N PLAT E XXXVI NUMBER 64- LA VERTU CHANCELANTE J E AN - B A PTI STE GREUZE N lJ ECOUTEUSE JEAN-B APT I STE GREUZE PI AT E XXXVII PICTURES, DRAWINGS, ETC. 59 who is paying court to her. Her blue eyes have a troubled and pensive expression and her whole pose indicates the discomfort of her mind. She wears a white, short-sleeved, low-cut dress and a transparent fichu; a blue fillet surrounds her head. Her bare arms have fallen upon her lap. On a small folding table on the left lie an open letter, a small bouquet, a wicker basket, and a crumpled blue garment. On the floor at the foot of the table are an open work-basket and a ball of thread. Above the table is seen the corner of a window which is mostly hidden by a portion of the wall which slopes steeply upwards to a raftered ceiling. In the right-hand corner ot the picture stands a small charcoal stove. Behind the girl, against the grey wall of the room, is a simple wooden bedstead on which lies a light-brown blanket with black lines near the edge. On the blanket is a white cap with pink ribbon. Canvas; sight measure, 30-J by 23^ inches. Engraved by J. Massard in 1776. This picture is No. 216 in the catalogue appended to Camille Mauclair’s Greuze , according to which it appeared in 1837 at the sale of the collection of the Comtesse de Neucheze, nee de Chatellenot. A painting of the same subject, attributed to Greuze (76 by 62 cm.), was sold on 24 February 1842; another, which differed in certain details, was sold at the Durand-Duclos sale in 1847; at the Camille Marcille sale in 1878 there was a study in pastel of the head of the girl ; and an advanced study of the girl, in black and red crayon and wash, is in the Louvre. By] ean-Baptiste Greuze (1726-1805). Lent by Mr. Leopold de Rothschild , C. V. O. 65 L’ECOUTEUSE. Head and shoulders of a young girl listening with her left ear against a door. Her head bends forward, bound with a blue fillet, and her auburn hair falls in coils upon her bare right shoulder. Her large blue eyes look away to her right, unconscious of everything but what she hears. A white chemise slips off her left breast and a black shawl falls over her arms. Canvas; sight measure, 17^ by 14^ inches. By Jean-Baptiste Greuze (1726-1805). Lent by the Duke of Wellington , K.G. Plate XXXVII. 62 PICTURES, DRAWINGS, ETC. double chin. His short powdered wig curls above the ears and is tied at the back with a ribbon. He wears a blue velvet coat ornamented in front with gold lace and a stole of dark brown fur which hides most of his white stock and frill. The background is dark brown. Canvas, relined in 1885; sight measure, 23^ by i7f inches. Exhibited at Burlington House, Old Masters Exhibition, 1887, No. 87. French School (artist unknown); second half of eighteenth century. Lent by Mr. R. H. Benson. Plate XXXVIII. 72 L’EDUCATION FAIT TOUT. A little girl has dressed up two small dogs and is teaching them to stand upright. The proceedings are watched with interest and amusement by her little companions. The light falls athwart the composition from above on the left, leaving the top, bottom, and left-hand end in shadow. The little girl, who has brown hair, and wears a white dress which leaves her neck and forearms bare, occupies the centre of the picture. Seen from behind, three-quarters to the right, she crouches on her heels with her arms outstretched towards the two dogs which stand, facing her in obvious discomfort, upon their hind legs, on a stone ledge. One, on the left, wears a man’s felt hat which hangs down behind him; the other, wrapped in a red cloth, supports a tall rush with his paw. On the right, in the corner of the picture, a boy is seated with legs outstretched towards the centre of the foreground. He has fair, curly hair; his neck, forearms, and legs are bare; he wears a white shirt, a reddish brown waistcoat, and blue breeches. His left hand rests on the ground; with his right he is about to support the nearer dog, at which he is looking. Behind and above him is seen in profile the head of a little girl with curly brown hair, who is looking at the dogs. On the left, in the shadow, sit or recline four children, three of whom are watching the animals. In the background is the wall of a house with a low, recessed, latticed window; above the window foliage is indicated. Canvas, re-lined, 22^ by 26 inches. The painting was lot 7 in the Roussel sale at Paris in March 1912. According to the catalogue of that sale it was formerly in the Constantin Stroganoff collection, and was sold at the Aubert sale PLATE XXXVII! EDUCATION FAIT TOUT PLATE XXXIX L'AMANT I MPETUEUX JEAN-HONORE FRAGONARD PLATE XL NUMBER 74 STUDY OF A H E AD JEAN-HONORE FRAGONARD PICTURES, DRAWINGS, ETC. 63 in 1786, and at the de Launay sale in 1792. It may be the picture which belonged to, and was engraved in an oval by, Nicolas de Launay; but various features, notably in the foreground, are different in the engraving - , which is in reverse, as is usual with this artist. De Launay possessed also Fragonard's Le Petit Predicateur which he engraved. A wash drawing of Li Education fait Pout was in the Walferdin collection and is reproduced in the Gazette des Beaux-Arts (vol. xxi, 1880, facing page 310). It was sold in 1880 for 3,100 francs. According to Baron Roger Portalis (. Honor e Fragonard , 1889, p. 1 14) the children represented are Fragonard’s own. By Jean-Honore Fragonard (1732-1806). Lent by Mr. Lockett Agnew. 73 L’AMANT IMPETUEUX. Plate XXXIX. Slight sketch of two figures in an interior. A girl, seated on a chair towards the spectator, is playfully seized by an impetuous young lover, whose brusque advances do not, however, seem to disquiet her greatly. The chair is toppling over to the left towards a table. I n the foreground on the right lie a ball of thread and a garment. Pencil and wash ; 8^ by inches. By Jean-Honore Fragonard (1732-1806). Lent by The Earl of Carnarvon. 74 HEAD OF A MAN. Plate XL. An elderly clean-shaven man turning three-quarters to the left and inclining his head forward and to the left. He wears a large fur cap, and drapery is seen at the shoulders. The light falls from the left. Sepia; sight measure, 14^ by 11^ inches. Inscribed Rome 1774 in the lower right-hand corner; in the left- hand corner is a collector’s mark, D, within a circle. This portrait- study was no doubt done by Fragonard when he visited Rome for the second time, at this date, in the company of the fermier-general , Berg-eret de Grandcour. ByJ ean-Honore Fragonard (1732-1806). Lent by Mr. Louis C. G. Clarke. 64 PICTURES, DRAWINGS, ETC. Plate XLI. 75 JEUX GALANTS. A young gallant kneels before his smiling mistress who, play- fully urged on by her companion, fits on to his head a be-ribboned girl’s cap. This scene closely resembles one between the Countess Rosine, the waiting-maid Suzanne, and the page Cherubin, in Beau- marchais’s “ Mariage de Figaro,” first performed in 1784, a moment at which Lavreince was producing some of his best work. Wash and water colour; sight measure, 6 ^- by 54 inches. By Nicolas Lavreince, whose name in Swedish was Lafrensen ( 1 737 “ 1 807 ). Lent by the Earl of Carnarvon. 76 MINIATURE PORTRAIT OF A LADY. Nearly full-face, bust portrait of a girl ; her body is turned three- quarters to the left, but her head faces slightly to the right. Her brown hair is decked with a string of pearls. She wears a low- necked blue dress with a blue bow on the left shoulder. The light falls from the left. Brownish background. Signed hall on the left. On ivory; oval; sight measure, iff by if inches. By Pierre-Adolphe Hall (1739-1793). Lent by His Excellency the Count Bcnckendorjf. 77 THE COLONNADE OF ST. PETER’S. View looking through a large doorway, opening through a thick wall into Bernini’s great colonnade, of which the ceiling and several columns are visible. On either side of the doorway hangs a broken door, thrown wide open. The lunette-shaped top of the doorway is filled with a fan-like iron grille. A man in a wide-brimmed hat and a cloak, with a stick in his left hand, is passing through the doorway with his back to the spectator; just beyond, on the left, is a figure in a long cloak, and further off, among the columns, are three other figures. A mule laden with a large bundle is approaching from be- hind the wall on the right and is about to pass in front of the door- way. In the distance, between the columns, are seen an obelisk and the further side of the colonnade. Sanguine; 2of by 15U inches. By Hubert Robert (1733-1808). Lent by Mr. Bowyer Nichols. PLATE X LI NUMBER 75 JEUX GALA-NTS NICOLAS LAVREINCE PICTURES, DRAWINGS, ETC. 65 78 LEDA AND THE SWAN. In the foreground Leda, in a dress of white and pale pink which leaves her breast bare, is seated on a bank towards the spectator with her face in profile to the left, and is resisting the advances of a white swan. A half-draped cupid, whose right leg rests on the outstretched left wing of the swan, holds the bird by the neck and threatens to strike it with a small torch. On the right, two goddesses, or nymphs, seated on the ground are conversing; one, seen from behind, three-quarters to the left, is dressed in pale blue, white and pale pink; the other, who is seen nearly full-face, wears a pale blue garment which leaves her breast bare. Behind them, a cupid is flying towards them, while another is seeking to obtain a brand guarded by an eagle standing on a bank with expanded wings. Signed in the left-hand lower corner, J. B. hiiet. 1784 (?). Pencil and water-colour; size of the composition, 10 by 154 inches. By Jean-Baptiste Huet (1745-1811). Lent by Mr. G. Harland-Peck. 79 UNE BERGERE. Full-length, nearly full-face figure of a shepherdess standing three-quarters to the left and looking slightly to the right. Her right hand rests on a blue garment on a bank or ledge; in her left hand she holds a red rose. Other roses are in a basket on the left and one is fixed in her hair on the left side of her head. Her feet are bare and the left foot is slightly advanced. She wears a straw hat ornamented with pink ribbons, a decollete whitish dress with pink shoulder knots, and a skirt touched with pink. In the foreground on the left sits a little dog which looks up at her; on the right is a rock. In the back- ground on the right lie two sheep; behind them are trees. Signed at the bottom on the left J. B. hiiet. 1788. Pastel; 15EI by 1 1^ inches. Exhibited at the Ecole des Beaux-Arts in 1879 (No. 632). Formerly in the Collection of the Goncourts; lot 128 in the sale of that collection at Paris in February 1897. By Jean-Baptiste Huet (1745-1811). Lent by Mr. Lezvis H. Samuel. 1 66 PICTURES, DRAWINGS, ETC. 80 INTERIOR. Interior of a large scullery with two figures. On the left, a woman holding a bucket in her right hand stands in profile at a copper; she wears a white cap and fichu, a pink dress, an apron and a blue skirt. A besom leans against the copper. On the extreme left a lanthorn stands on a barrel; hard by, on the ground, are a jug, a striped rug, and a tub. Above the copper a shelf runs along the side wall of the room ; on it are a saucepan, a bottle, and other utensils. In the foreground on the right, in shadow, is a large cask; near it on the tiled floor stand two vessels. In the centre of the background a door is opened inwards to the left in the end wall of the room. A woman carrying a basket of washing has just entered the room and is walking towards the spectator. She wears a white cap, a yellow bodice with green sleeves, a white apron, and a light brown skirt. Close to her on the right a cat reposes on a chair, the back of which is placed against a table; on the floor near the chair lies a mop. The table is partly covered with a white cloth and laden with turnips, a knife, a basket, etc. On the right above the table is an open latticed window. A hare hangs from the ceiling near the cask. Panel; 19U by 21 inches. In the Wallace Collection there is a kitchen-piece ascribed to Lancret which in the treatment of the interior and the utensils some- what resembles this picture. The figure-painting in the Wallace picture is, however, far higher in quality. By Jean-Jacques de Boissieu (1736-1810). Lent by the Earl of Bessborough. Plate XLII. 81 COURONNEMENT DE V OLT AIRE sur le Theatre Frangais, le 30 mars 1778, apres la sixieme representation d’ Irene. This drawing depicts the apotheose or triumph of Voltaire. The stage of the theatre is thronged with enthusiastic actors and actresses, some of whom hold wreaths which they are about to place upon a bust of Voltaire standing on a pedestal in the centre. Madame Vestris is seen holding a paper. The occupants of the boxes on either side of the stage, as well as the members of the orchestra and the occupants of the stalls, are gazing at the aged Voltaire, who is PLATE XLI I NUMBER 81 COURONNEMENT DE VOLTAIRE PLATE XL! 1 1 NUMBER 82 DECLARATION DE LA CROSSESSE MOREAU LE JEUNE PICTURES, DRAWINGS, ETC. 67 seen in person between Madame Denis and Madame de la Villette, in an upper box on the left. In the background is scenery repre- senting quasi-classical architecture. Signed at the bottom: J. M. Moreau , Dessinateur et Graveur du Cabinet du Roy. Pen and sepia; sight measure, 7^ by o,\ inches. See E. Bocher, Catalogue de /’ CEuvre de J.-M. Moreau le Jeune, 1882, pp. 101-103. Engraved by C. E. Gaucher. The engraving is framed at the back of the drawing. By Jean-Michel Moreau le Jeune (1741-1814). Lent by the Earl of Carnarvon. 82 DECLARATION DE LA GROSSESSE. Scene in a drawing-room. A doctor with his face in profile is seated to the left in a fauteuil at a small round table. He is discussing with a lady, who is seated opposite to him in a similar chair, with her face in profile to the right, the health of another lady who is seated between them, with face turned three-quarters to the left. She is looking at the first lady, in whose right hand she has placed her own ; her left hand rests on the table and her feet upon a cushion. The title of the print indicates that the doctor has just declared the younger lady to be enceinte. On the table a small porcelain bowl stands on a plate. In the foreground on the right is seen part of a firescreen and on the left part of a small table. On the right, behind the doctor, is a large folding screen. In the background is the wall of the room, with a half-open door through which a servant has entered ; she stands with her forefinger upon her lips, apparently listening to the conversation. Above the door is a bas-relief of two mythological figures supporting a car- touche. An oval portrait hangs on the wall near the right side of the composition. The light falls from the right. Signed in the lower left-hand corner, J M. moreau Le jeune 1775 - Pen and sepia; io x % by 8^ inches. Plate XLIII. 68 PICTURES, DRAWINGS, ETC. Engraved in reverse by P. A. Martini in the second series of Le Monument du Costume. See E. Bocher, Catalogue de V CEuvre de J.-M. Moreau le Jeune, 1882, p. 487, No. 1348. By Jean-Michel Moreau le Jeune (1741-1814). Lent by the Earl of Carnarvon. Plate XLIV. 83 N’AYEZ PAS PEUR, MA BONNE AM IE. Scene in drawing-room. In the centre is a recess containing a sofa, on the cushions of which a young lady, turning three-quarters to the left, reclines in an easy attitude. Her head is reflected in a large mirror which occupies the back of the recess. She is looking at another lady who is seated in the foreground on the left at a gueridon. The second lady, who is seen in profile to the right, is addressing a third lady, who is seated on the right with her face in profile to the left and appears to have been engaged with some crochet work. On the extreme left an abbe stands towards the spectator with his left hand on the back of the lady’s chair, and looks across at the lady on the right. Against the wall on either side of the recess is a bowl of flowers standing on a caryatid pedestal. The light falls from the right. Signed in the lower left-hand corner J M. moreau Le jeune. 1 775 - Pen and sepia; ioi by 8^ inches. Engraved by I. S. Helman in the second series of Le Monument du Costume. See E. Bocher, Catalogue de /' CEuvre de J. -M. Moreau le Jeune, 1882, p. 488, No. 1351. By Jean-Michel Moreau le Jeune (1741-1814). Lent by the Earl of Carnarvon. 84 A MAID OF HONOUR OF MARI E-ANTOINETTE. (Minia- ture.) Flalf-length nearly full-face portrait of a lady turning to the left and looking towards the spectator. She has dark brown eyes and P L AT E X LI V NUMBER 83 N ' AY E Z PAS PEUR, MA BONNE AM IE ! MOREAU LE JEUNE 1 i PICTURES, DRAWINGS, ETC. 69 thick powdered hair, and wears a decollete green dress trimmed with lace. Her hands are not visible. Dark background. On ivory; circular; sight measure, diameter 2^ inches. Exhibited at the Burlington Fine Arts Club in 1889. Reproduced on Plate XXXVI of the illustrated catalogue. By Antoine Vestier (1740-1824). Lent by Mrs. Hornsby Drake. 85 PORTRAIT OF A LADY. (Miniature.) Half-length, nearly full-face portrait of a lady with dark eyes and powdered hair. She wears a large straw hat decked with red flowers, and a light pinkish dress ornamented with blue ribbons. The light falls from the left. Brownish background. Inscribed on the left: Dumont. Trianon. 177G On ivory; oval; 2§ by i|- inches. By Francois Dumont (?) (1751-about 1830). Lent by Mrs. Hornsby Drake. 86 LA PRINCESSE DE LAMBALLE. (Miniature.) Three-quarter length portrait of a lady seated to the left in a crimson chair, playing a harp. She has powdered hair and dark brown eyes, and wears a white dress ornamented with blue. On the left is a red curtain. In the background are Ionic columns, and an open door; on the extreme right is delineated a vase containing roses. On ivory; circular; sight measure, diameter 2^ inches. Exhibited at the Burlington Fine Arts Club in 1889. Reproduced on Plate XXXV of the illustrated catalogue. By Francois Dumont (1751-about 1830). Lent by Mrs. Hornsby Drake. 87 PORPHYRE DUCRUET, BROTHER-IN-LAW OF J. B. J. AUGUSTIN. (Miniature.) Half-length portrait of a boy turning three-quarters to the right and looking with a pleasant expression towards the spectator. Stray 70 PICTURES, DRAWINGS, ETC. curly locks hang down on either side of the face. The hands are not visible. A large white collar is turned down over the coat. Painted in brown, heightened with white, on brown paper. Oval; sight measure, 6 \ by 4§ inches. From one of the artist’s sketch books, formerly belonging to his heir, M. de Coincy of Paris. By Jean-Baptiste-Jacques Augustin (1759-1832). Lent by Dr. G. C. Williamson. 88 THE MOTHER OF J. B. J. AUGUSTIN. Nearly full-face, bust portrait of an old lady turning slightly to the right and looking towards the spectator with a faint smile. She wears a hUh white headdress which han^s down on either side of her face. A white fichu is almost hidden by a black garment trimmed with black lace. Painted in brown and black on brown paper. Oval; sight measure, 5f by 4-f inches. From one of the artist’s sketch books, formerly belonging to his heir, M. de Coincy of Paris. By Jean-Baptiste-Jacques Augustin (1759-1832). Lent by Dr. G. C. Williamson. 89 MINIATURE PORTRAIT OF A LADY. Nearly full-face, short half-length portrait of a lady with her head inclined slightly to the left. She looks towards the spectator with an incipient smile. She has brown eyes, and a thick mass of slightly powdered brown hair, bound with a white fillet. The back- ground is of dark greyish tones. The light falls from the left. On playing-card; oval; sight measure, 2^ by if inches. By Jean-Baptiste-Jacques Augustin (1759-1832). Lent by Dr. G. C. Williamson. 90 PORTRAIT OF A LADY. Three-quarter length portrait of a lady seated to the left. She wears a low-necked dress. Her right arm rests on a cushion; in her PLATE XLV NUMBER 91 JEUNE PEINTRE AV E C SON MODELE LO U I S - LEOPOLD BOIL LY PICTURES, DRAWINGS, ETC. 7 1 left hand, which rests on her lap, she holds a small bunch of flowers. In the background is a column. Inscribed in ink on the right Augustin invenit. Pencil; oval; sight measure, fk by 3^ inches. At the back is a pencil profile turned to the left. By Jean-Baptiste-Jacques Augustin (1759-1832). Lent by Dr. G. C. Williamson. THE ARTIST’S MODEL. In a lofty chamber adjoining a large domed hall a young artist is showing to his fair model the picture for which she has posed. She is seated three-quarters to the right at a table covered with a red table-cloth with elaborate design, on which her right fore-arm and left hand rest. In her right hand she holds a book; her left foot rests on a low stool. She has blonde hair and blue eyes, and wears a low- necked red and blue bodice, a white fichu and a purple skirt. Her head is inclined slightly to her left, and she is looking smilingly at a painting, standing on an easel on the right, of a girl lying on a bed with blue drapery. Behind her on the left is seen in profile to the right the head of the artist. His hair or wig is long and fair. His chin almost rests on his model’s right shoulder; he has placed his right hand on her right arm, while his left hand is seen to the right of her, pointing at the picture. On the table are two books, a small plaster cast of a semi-recumbent female figure, a round tin, a chip box, a globular glass bottle, a portfolio, etc. On the floor, on the left, three canvases and a violoncello lean against the table. In shadow, behind the table, is seen part of an almost life-size statue of a woman in profile to the right; above the statue is a green curtain. In the background are Ionic columns and part of the dome of the hall. The light falls from the left. This painting is marked by an elaboration and finish which recalls the work of some Dutch masters of the seventeenth century. Signed on one of the canvases in the lower left-hand corner: L. Boilly ft. Canvas, relined; sight measure, I7§ by 14I- inches. Formerly in the collection of the Earl of Lonsdale. Sold at Christie’s (lot 877) on 18th June 1887. Plate 72 PICTURES, DRAWINGS, ETC. Exhibited at the Loan Exhibition of Works of French and English Painters of the Eighteenth Century at the Guildhall in 1902, No. 105. A painting entitled Jeune Peintre avec son Modele, by Boilly, was lot 2 in the Vente Renou at Paris on 13th December 1841. By Louis-Leopold Boilly (1761-1845). Lent by Sir Edgar Speyer , Bart. Plate XLVI. 92 LA BIENFAITRICE. H ighly finished painting of a genre scene enacted in the vestibule of an aristocratic hotel , the dramatis personce being six in number. A young lady, richly clad, is receiving effusive demonstrations of grati- tude from an afflicted family to whom she is giving her purse in the presence of an impassive sister of charity and a supercilious lackey. On the left, in a bright light falling from above on the left, the lady stands to the right with her face seen three-quarters. She is in out- door attire, and wears a large white hat trimmed with bright pink ribbons, a white silk coat edged with fur, brown gloves, and a silk skirt which is yellow in front and lilac behind. She looks down at a young man, seen in profile, who kneels in front of her on his left knee and kisses her coat, which he raises to his lips with his left hand. He wears a long, light brown coat with black ribbons on the back of the sleeve, buff-coloured breeches and pale blue stockings. His dark grey hat lies on the floor against his knee. His wife, who stands behind him dressed in a black shawl and dark green dress, faces three-quarters to the left. She is kissing the lady’s left hand, from which, with her own left hand, she is receiving a green purse. Her little child, dressed in brown, terrified by the barking of a small dog", clings shrieking to his mother’s skirts. On the right, in profile to the left, stands the sister of charity, calmly surveying the scene. She wears a white cap (which hides the upper part of her face), a white collar, a black habit, and a blue apron in which her hands are hidden. A red-edged volume, bound in calf, appears from beneath her arm, and a rosary and crucifix hang from her waist. In the background on the left, behind the lady, a lackey stands three-quarters to the right, in shadow, and looks at the group with a sneer on his face. He wears a purplish coat and green waistcoat ( PLATE XLVI LOUIS-LEOPOLD BOILLY P L AT E XLVII NUMBER 93 LES deux COLOM BES MARGUERITE GERARD PICTURES, DRAWINGS, ETC. 73 and breeches, with grey stockings. On the right, in the background, in brighter light, is the well of a staircase, with a fine wrought-iron balustrade and a niche containing a nude statue, of which the upper part is not visible. Canvas, re-lined ; i8i by 2 if inches. A picture by Boilly described as a Jenne dame donnant sa bourse a une famille affligee en presence d’une sosur de charite was sold at the Richard de Ledan sale in 1816 (H. Mireur, Dictionnaire des Ventes d’Art , vol. i, 1901, p. 267). By Louis-Leopold Boilly (1761-1845). Lent by The Earl of Carnarvon. 93 LES DEUX COLOMBES. Scene on the terrace of a house. A young lady stands in profile to the right, and holds up her chubby fair-haired infant to a cage of brass and copper containing two doves, at which both mother and child are looking. The lady wears a white satin dress ornamented at the hips with bows of blue ribbon. Her head is thrown back; her brown hair is decked with a string of pearls and a blue ribbon, and some locks hang down behind as far as her waist. Her feet are just visible below her dress. The child is naked, except for a white garment draped about its legs; its face is seen three-quarters to the right, and its right hand rests upon its mother’s brow. A brown cloth is thrown over the cage, which appears to be suspended from the branches of a tree. In the foreground on the left, but in shadow, is a high-backed chair upholstered in red velvet; part of the lady’s dress rests upon the corner of the seat. On the right is a low rocking-cradle with a yellow counterpane and, at the head, a blue cloth. Behind the principal figure and above the cradle is a low grey wall with a parapet, which ends abruptly; on the right, from behind the wall, springs the trunk of a tree, on either side of which is a glimpse of sky. The background on the left, above the chair, is filled with foliage. The light falls from the right. Panel, 2i-| by 17! inches. By Marguerite Gerard (1761-1837). K Plate XL VII. 74 PICTURES, DRAWINGS, ETC. In the earlier manner of the artist. The painter was the sister- in-law and pupil of Fragonard, whose influence is manifest in some passages of this picture, especially in the rendering of the child. Lent by Sir Philip Sassoon , Bart. Plate XLVIII. 94 MATERNITE, Interior with three figures. In the foreground a lady is seated three-quarters to the left on a red chair, across the back of which a light-brown cloth is thrown. She is dressed in a low-cut white satin gown, with long sleeves of a different material. Her comb, neck- lace, and bracelet are set with red stones. Her left hand is placed against the body of a healthy, fair-haired, almost naked baby, seated to the right at the edge of a table, on a white cloth from behind which the lady’s right hand appears. The baby is kissing his mother upon the right cheek; his left hand rests on her right temple, and his right hand caresses her left cheek. On the table lies a dark satin cloak, lined with pink. A young dark-haired nurse, seen three-quarters to the right, leans with folded arms on the further edge of the table, and looks across with a pleased expression at the mother and child. She wears a white fillet, a low-cut, short- sleeved white bodice, a white apron, and a purplish skirt. The two legs of the table which are visible terminate at the top in winged heads of Egyptian character. Above the table hangs a chandelier or lamp of brass, blue metal and glass; under the table, by the lady’s right foot, is a crimson footstool. In the foreground on the right stands a white cat with dark spots. The background is in subdued light. Behind the chair, against the wall, is a cupboard with dark green panels; it is surmounted by a sphere. A white board, upon which lists of words are written, and two portfolios stand on a table and lean against the front of the cupboard. A green curtain with which the wall is draped is continued in a recess which occupies the left half of the background. Signed in the left-hand lower corner M te / gerard This painting is in the later style of the artist. Panel; 24! by 19! inches. By Marguerite Gerard (1761-1837). Lent by Sir Philip Sassoon , Bart. PLAT E X LV I 1 1 NUMBER 9 4- MATE R N I TE MARGUERITE GERARD PLATE X L I X NUMBER 95 MARBLE BUST OF A MAN UNKNOWN JEAN-JACqUES CAFFIERI i . * -• E PLATE L NUMBER 96 VO LT A I R E TERRA COTTA STATUETTE JEAN-ANTOINE HO U DON SCULPTURE, FURNITURE, ORMOLU, POR- CELAIN, SNUFF-BOXES, AND OTHER SMALL OBJETS D’ART 95 BUST OF A MAN in marble. The head turned slightly to the right, the lips curved in a slightly sarcastic smile, the keen, questioning eyes looking to the right; a loose cravat twisted round the neck over the shirt which is open; the curls of the wig falling in studied disorder over the collar of the coat. On a circular marble pedestal. Signed at the back: fait par j. j. caffieri • 1781. This was the year in which Caffieri exhibited a portrait-bust of Mesmer, but it cannot be identified with this bust. Height, 25 inches. ByJ ean-Jacques Caffieri (1725-1792). Lent by Mr. Ludovic Goetz. 96 VOLTAIRE. Statuette in terra-cotta. He is seated in an arm-chair, wrapped in a loose dressing-gown, his right hand resting on the arm of the chair and his head turned slightly to the right. At the back of the chair is a red wax seal, ACADEM. ROYALE DE PEINTURE ET SCULPT. HOUDON SC. (the Seal affixed, by way of imprimatur, to works issuing from Houdon’s studio). On an oblong base of grey and black marbles, with plain ormolu mouldings. A small study for the famous marble statue exhibited at the Salon of 1781 and now in the foyer o f the Comedie-Fran§aise. Other examples exist of this statuette: one in terra-cotta in the Bibliotheque at Versailles, signed P. F. Houdon sc. 1778; another in plaster, similarly signed, in the Louvre. The plaster model for the life-size statue is in the Bibliotheque Nationale, a terra-cotta model in the Museum at Montpellier. There is an original life-size version in marble in the Museum of the Hermitage at St. Petersburg. For a full discussion of this statuette, which shows several important divergences from the marble figure, see the article by Plate XLIX. Plate L. 76 SCULPTURE, FURNITURE, AND Sir Claude Phillips in the Art Journal for 1906, p. 225. It is probable that this example is the original sketch, before the name was added. Height, 7^- inches; including base, 13^ inches. By Jean-Antoine Houdon (1741-1828). Lent by Sir Arthur Pinero. 97 A NYMPH. Bust in terra-cotta. The head turned to the right, looking forwards, the hair wreathed with roses and falling in curls over the shoulders; thin drapery falling over the breast. On a high circular bronze vase, partly formed of a fluted column, with swags and wreaths in ormolu. Height, 8 inches; including base, 17^ inches. By Joseph-Charles Marin. Period of Louis Seize. Lent by His Excellency the Count Benckendorff. 98 A BACCHANTE. Bust in terra-cotta. The head turned to the right, looking upwards, the hair wreathed with leaves and flowers, with loose locks falling over the shoulders; a little drapery twisted below the breasts. On a circular moulded base of dark red marble, with ormolu wreath, over a square plinth. Height, 9 inches; including base, 12 inches. By Joseph-Charles Marin. Period of Louis Seize. Lent by The Earl of Carnarvon. 99 A BACCHANTE. Bust in terra-cotta. The head turned to the left, looking downwards, the hair elabor- ately wreathed with vine-leaves and grapes, with loose locks falling over the shoulders; a little drapery caught up below the breasts with a narrow ribbon. On a circular moulded base of dark red marble, with ormolu wreath, over a square plinth. Height, 10 inches; including base, 13 inches. By Joseph-Charles Marin. Period of Louis Seize. Lent by The Earl of Carnarvon. I PLATE LI B V J E. A N END OF LO U 1 F R A N £ O I qu i n z e: ; in so - NUMBER I. O I SECRET Al R E mounts bv COUTHIERE L l_ E D LOUIS SEIZE! STYLE s RIESENER. OTHER SMALL OBJETS D’ART 77 ioo BUST OF A LADY. Plaster coloured to imitate terra-cotta. In the manner of Augustin Pajou, about 1780. Lent by Mr. E. Hockliffe. 101 UPRIGHT SECRETAIRE. Plate LI, With falling front. Decorated with marquetry of tulip, rose, and other woods, and completed with bronze mounts, partly in gilt, partly in dark bronze. The front panel has an oval medallion of Silence; the lower part has a rolling ( tambour ) front, with a crowing cock perched on a trophy. The inside has hinged flaps of stained pollarded wood. The corner mounts in the form of supporting figures, that on the left of caryatid type, that on the right a bearded male figure. Above and below are masks, the former supported by grotesque figures in the centre of a band of fret. White marble top with ormolu gallery. The medallion of Silence occurs also on the Bureau of Stanislas Leczinski, by Oeben and Riesener (1769), in the Wallace Collection; the trophy with a cock, and some of the mounts, on an upright secretaire in the same collection, also by Riesener. A similar secre- taire was in the Hamilton Palace Collection. See Molinier, La Collection Wallace , Plates 27, 28, 29, 30, 31. The chief peculiarity of this secretaire — that which serves to distinguish it from its fellows —is that the mounts are (as stated above) partly in dark, partly in gilt bronze. Height, 4 feet 9 inches; width at top, 3 feet 8 inches. By Jean-Francois Riesener. The mounts by Gouthiere. End of the period of Louis Quinze; in the early phase of the so-called Louis-Seize style. Lent by Lady Wernher. 102 DWARF MAROUETRY SECRETAIRE. It has a fall-down front enclosing writing slide and six drawers, and two doors below. The front and ends inlaid with large panels of rosettes and trellis work on satin-wood ground with tulip-wood borders. 78 SCULPTURE, FURNITURE, AND With ormolu corners, escutcheons and feet, chased with formal foliage and scroll-work. Surmounted by a Brescia marble slab. From Viscount Clifden’s collection. From the John Edward Taylor collection. Stamped J. F. Oeben. Style and period of Louis Ouinze. Lent by Mr. Meyer Sassoon. 103 UPRIGHT SECRETAIRE. With falling front. Amboyna wood, with ormolu mounts and medallions in relief. The upper medallion represents two doves billing on a quiver; the lower medallions on the hinged doors have a snake threatening nestlings and a parent bird returning to protect them. White marble top, with ormolu gallery. Height, 4 feet 6| inches. Later style and period of Louis Seize. Lent by Sir Philip Sassoon , Bart. 104 SMALL BUREAU. Continuous pattern in marquetry, with ormolu mounts. Signed B.V. R.B. Height, 2 feet 9 inches. Middle style and period of Louis Ouinze. Lent by Mr. Meyer Sassoon. 105 GUERIDON. Marquetry, with ormolu mounts; the top formed of a plaque of Sevres porcelain with a turquoise blue border, painted with a fete champctre. Height, 2 feet 6^ inches. Period of Louis Seize. Lent by Mr. Meyer Sassoon. 106 SMALL WRITING TABLE of mahogany, the front fitted with five drawers; tapering legs. Ormolu mounts and gallery. Height, 2 feet 5^ inches. Style and period of Louis Seize. Lent by The Lady Mary Parker. PLATE L I I CANAPE OF BEAUVAIS TAPESTRY LOUIS SEIZE PERIOD OTHER SMALL OBJETS D ART 79 107 BUREAU-CYLINDRE. Marquetry, with ormolu mounts. Style of Louis Ouinze but probably of English workmanship. Height, 3 feet 10 inches. Lent by Mrs. R. H. Benson. 108 SMALL TABLE, with drawers. The top adorned with an elaborate design in marquetry of various woods, with ormolu mounts. From the Clifden collection. Height, 2 feet 3^ inches. Middle style and period of Louis Ouinze. Lent by Mr. Meyer Sassoon. 109 TABLE of walnut wood. The top decorated with marquetry; cabriole legs terminating in hoof feet. Height, 2 feet 5^ inches. Middle of the eighteenth century. Lent by Mrs. Eugenie Joachim-Gibson. no TWO ARMCHAIRS. Gilt wood, with seat, back, and arms of flowered brocade on a white ground. From the Lelong collection. Height, 3 feet. Style and period of Louis Seize. Lent by Mr. Meyer Sassoon. in TWO ARMCHAIRS, of carved and gilt wood of great elaboration and finish, with Beauvais tapestry seat, back, sides, and arms. Height, 3 feet 5 inches. Later style and period of Louis Seize. Lent by Mrs. A lineric Paget. 112 CANAPE of carved and gilt wood of great elaboration and finish, Plate LI I. with seat, back, sides, and arms of Beauvais tapestry. Height, 3 feet 7 inches; width, 3 feet 10 inches. Later style and period of Louis Seize. Lent by Mrs. A lineric Paget. 80 SCULPTURE, FURNITURE, AND 113 PAIR OF CANDLESTICKS ( Flambeaux ), of gilt bronze cast and chased. The support of the one a nude male figure of classical type, of the other a nude female figure (nymph with cornucopia) of similar type. Late Louis-Ouatorze style and period. Lent by the Hon. Mrs. George Keppel. 114 CANDLESTICKS ( Flambeaux ). A pair, in gilt bronze. The tops, stems, and bases formed of scrolls and conventionalized foliage in the rocaille style. Height, 9^ inches. From the designs of Sebastien- Antoine Slodtz. Earlier style and period of Louis Ouinze. Lent by Mr. A rchibald G. B. Russell. 115 A PAIR OF CANDLESTICKS of ormolu and enamel. The top carried on three curved supports with lion heads and feet. The base and a vase-shaped central ornament decorated with subjects en camdieu , Leda and the Swan, Nymphs with Cupids, and sacrificial scenes. Height, 10 inches. Period of Louis Seize. Lent by Sir Philip Sassoon , Bart. 116 PAIR OF CANDELABRA. Ormolu, the stems formed of four caryatid herms wreathed with flowers, the branches and bases elaborately chased. Height, 19 inches. Later style and period of Louis Seize. Lent by The Countess of Bessborough. 117 PAIR OF CANDLESTICKS {Flambeaux). Gilt bronze, with winged heads, garlands, and leaf ornament. Signed Martincourt. Height, nf inches. Later style and period of Louis Seize. Lent by Mr. Meyer Sassoon. OTHER SMALL OBJETS D ART 81 118 CLOCK, of tortoiseshell and brass inlay ( boulle ). Elaborately mounted in ormolu — marked on a cartel held below the dial by two allegorical figures in relief, Hommet , Paris. On the top is a winged Fame blowing a trumpet. Height, 2 feet io inches. Latest period of Louis Ouatorze. Lent by Sir Frederick Cook , Bart. 119 CLOCK, with bracket. In red Vernis Martin with mounts of gilt bronze in the rocaille style. Maker’s name Caron Horloger du Roy a Paris. Caron, the maker of this clock, was the father of the famous dramatist Beaumarchais, who himself began life as a clockmaker. Height, including bracket, 2 feet 10 inches. Earlier style and period of Louis Ouinze. Lent by Mr. R. H. Benson. 120 CLOCK of ormolu and enamel. In the form of a statuette of Astronomy. The symbolical figure stands, amply draped, holding on her left shoulder a blue globe with gold stars, round which run two white bands with the hours and minutes, to which her right forefinger serves as a pointer. At her feet lie two telescopes, a rule, and a pair of compasses. On the curved front of the base, which is fluted and hung with festoons, is a dial with a perpetual Almanack. White marble plinth, on gilt feet. Height, i6f inches. In the style of Falconet. Later style and period of Louis Ouinze. Lent by The Earl of Carnarvon. 121 CLOCK of ormolu and bronze. The circular clock-case, the dial marked Duchesne a paris, supported on the back of a fantastic elephant, who stands on a gilt rocaille base. On the top of the clock-case is seated a naked child, holding an oval shield and part of the stem of a spear. Height, 18 inches. Period of Louis Ouinze. Lent by Mr. R. H. Benson. L 82 SCULPTURE, FURNITURE, AND 122 CLOCK of ormolu and enamel. The clock itself in the form of a dark blue covered vase with a revolving rim, painted with a double series of the hours; the pointers on each side are the tails of snakes twisted round oval medallions, painted with Cupid aiming his bow, and Cupid as Folly flying above two doves; the handles in the form of winged female grotesques. The base quadrangular, with four elongated octagonal medallions : a female figure (War?) crowning with olive a shield inscribed with the monogram lc; a female figure (History?) writing in a book sup- ported on the back of Time; a female figure (Painting?) standing by an oval portrait of Louis XVI on an easel; a female figure (Govern- ment?) holding a sword, sceptres and a crown. Square ormolu plinth. Said to have been made, with the two candlesticks above men- tioned, for Marie-Antoinette. The candlesticks are of appreciably different workmanship and much finer quality. The enamels by Cotteau. Height, inches. Period of Louis Seize. Lent by Sir Philip Sassoon , Bart. 123 CLOCK, of gilt bronze. Above the dial is a figure of Venus seated in a car drawn by two doves; she is looking backward to take an arrow from Cupid who follows the car holding his bow. On the curved front of the base is a frieze with infant Bacchanals. A clock with a similar subject was offered for sale “ chez le sieur Pally , Rue St. Honored in 1765. Height, 14! inches. The figures in the style of Falconet. End of the period Louis Ouinze, but in early phase of so-called Louis-Seize style. Lent by Mr. F. Leverton Harris. 124 FITTINGS FOR A DOOR. Of gilt bronze, mounted on three separate panels of wood. Very finely moulded and chased, with leaf and flower ornament, the gilding partly mat and partly polished. End of the period of Louis Ouinze, but in the early phase of the so-called Louis-Seize style. Lent by Mr. Charles Davis. OTHER SMALL OBJETS D’ART 83 125 OVAL PANEL of marquetry, with elaborate ormolu mount; the inlay represents a pastoral trophy. The mount is very similar to that on a secretaire by Riesener at Hertford House {La Collection Wallace , Plate 74). Molinier, in dis- agreement with those who would assign that mount to Gouthiere, gives it to Thomire. Height, 18 inches. Later style and period of Louis Seize. Lent by Mr. Charles Davis. 126 TRIPOD STAND ( Brule-parfums ) , of orange-red breccia marble. Mounted in ormolu. The bowl, which has a gilt basket rim and festoons, is carried on three curved supports with long-horned satyr heads and goat feet, standing on a three-cornered base; in the centre is a thyrsus support, round which is twisted a snake in dark bronze. Circular plinth of dark grey marble, with a cord mounting. Height, 13 inches. Later style and period of Louis Seize. Lent by Sir Philip Sassoon , Bart. 127 VASE of dark blue porcelain, with dull red circles round the base. Mounted in ormolu with a foliated rim and plinth, and double twisted handles springing from below goats’ heads on each side. Height, 8f inches. The vase Chinese, eighteenth century, the mounts French. Later style and period of Louis Seize. Lent by Mr. Charles Davis. 128 VASE AND COVER (. Brule-parfums ) of apple-green Sevres por- celain. Pierced and decorated with gilding; on the sides are two circular medallions with shipping scenes in colour, painted by Morin. White and gold handles. Mark in blue, double l enclosing a q (date-letter for 1769) sur- mounted by an m. Height, 11^ inches. Lent by Sir Philip Sassoon , Bart . 84 SCULPTURE, FURNITURE, AND 129 FLOWER-SHAPED VASE ( vase-tulipe ) of apple-green Sevres (or Vincennes) porcelain. Decorated with gilding; on the sides are two irregular panels painted in colours with a little girl gardening, and a boy with a cage, in the manner of Boucher. Mark in gold, double l. No date-letter. Height, 84 inches. Lent by Sir Philip Sassoon , Bart . 130 OBLONG SNUFF-BOX. Plain gold mounts, framing minutely executed gouache paintings of revolutionary scenes on the top, bottom, and sides. That which shows Camille Desmoulins in the garden of the Palais Royal is copied from an engraving by Duplessis-Bertaux. Length, 2§ inches; width, if inches. Signed by Guerin. Lent by the Marquis of Clanrikarde. 131 ROUND SNUFF-BOX. Tortoiseshell, painted all over with military scenes and land- scapes; mounted in gold. 132 OVAL SNUFF-BOX. Violet enamel, mounted in gold enamelled in colours; with an oval medallion on the lid painted with a nymph sacrificing to Cupid. 133 NECESSAIRE. Agate over crimson backing, with openwork gold mounts; con- taining miniature scent bottles and toilet implements. 134 NECESSAIRE. Egg-shaped, of blood-stone, with openwork gold mounts and white enamel band inscribed in gold dieu vous benit; fitted inside as a pincushion. 135 ETUI. Tortoiseshell with gold pique decorations; containing scissors and other implements. OTHER SMALL OBJETS D ART 85 136 ETUI. Containing ivory memorandum tablets and a gold pencil. Flat, of grey stone with gold mounts inscribed souvenir damitie and two oval medallions of gold on a red enamel ground ; Cupid forging arrows, and two hearts suspended over an altar. 137 ETUI. Tortoiseshell with gold pique decoration; containing scissors and other implements. SCENT BOTTLE. Cut crystal with openwork gold mounts. 139 WATCH. Gold, enamelled in colours, with a medallion at the back painted cn camaieu with two Cupids, one of them playing on a flute. The preceding nine objects lent by the Lady Rothschild. LIST OF ARTISTS WORKING IN FRANCE IN THE EIGHTEENTH CENTURY, Photographs and Reproductions of whose Works were lent by Mr. R. C. Witt to the Exhibition of 1913. Allais Amand, J. F. Angillis, P. Arnulphy, C. Aubert, L. Aubert, M. Aubin, A. de St. Aubin, C. G. de St. Aubin, G. de St. Aubry, E. Audran, C. Augustin, J. B. J. Aved, J. A. J. Bachelier, J. J. Bacler d’Albe Bar, B. de Barat, P. M. Baudouin, P. A. Beau, G. de Belin de Fontenay, J. B. Bellange, L. Belle, A. S. Benard, J. B. Berain, J. Bertin, N. Binet, L. Blanchet, G. Blarenberghe, H. D. van Blarenberghe, L. N. van Blondel, J. F. Boguet, N. D. Boilly, L. L. Boissieu, J. J. de Bolomey, B. Borel, A. Bouchardon, E. Boucher, F. Boucher, J. M. Bouliar, M. G. Boyer, M. Boze, J. Brenet, N. G. Bruaudet, L. Brun, L. E. (V.) le Caffieri, C. Callet, A. F. Caresme, P. Carmontelle, L. C. de C AU D RON Chalgrin, J. F. 9 o LIST OF ARTISTS Restout the Younger, J. Tocque, L. Riche, R. la Tour, M. O. de la Rigaud, H. Tournieres, R. L. Riquard Tremolliere, P. C. Robert, H. Trinquesse, L. Roslin, A. Troy, F. de Roslin, M. S. Troy, J. F. de Rouvier Valade, J. St. Quentin, J. P. j. de Vallayer-Coster, A. Santerre, j. B. Vermont, C. de Schilly, L. L. Vernet, C. J. ScHUPPEN, j. VAN Vestier, A. Sergent, A. L. F. VlEN, J. M. Servandoni, J. J. VlGEE, L. SlCARD, L. Vincent, F. A. SlGALON, X. Vivien, J. SlLVESTRE THE ELDER, LOUIS VoiLLES, J. SlLVESTRE THE YOUNGER, LOUIS Voiriot, G. SUBLEYRAS, P. Watteau, F. L. J. SURINY, J. D. DE Watteau, J. A. Swebach-Desfontaines, J. F. J. Weyler, J. B. Tar aval, H Wille, P. A. Taunay, N. A. Wyrsch, J. M. TABLE OF CONTENTS PAINTINGS, PASTELS, DRAWINGS, AND MINIATURES CATALOGUE NUMBER 1. Rigaud, H. . Plate II Madame de Parabere (?) 2. Largilliere, N. DE . . „ III Le Comte de Richebourg 3. Gillot, C. . Le Triomphe de Neptune (1 drawing sanguine) 4. Gillot, C. . Study of a Man (1 drawing , sanguine) 5. Watteau, A. . . Plate IV Halte d’Armee 6. Watteau, A. . „ v Nocturnal Scene: Lovers Reading 7. Watteau, A. . „ VI Portrait of the Painter 8. Watteau, A. . . Frontispiece Fete Champetre 9. Watteau, A. . Plate VII Studies of a Negro’s Head ( drawing , black and red chalk) 10. Watteau, A. . . Study of a Male Figure ( drawing , san- guine) 1 1. Watteau, A. . • Study of a Female Figure ( drawing sanguine) 12. Lancret, N. . . Plate VIII La Diseuse d’Aventures 13. Lancret, N. . IX La Promenade 14. Lancret, N. . x La Tasse de Chocolat 15. Lancret, N. . . L’Ete 16. Lancret, N. . . L’Automne 17. Pater, J. B. . Plate XI Le Desir de Plaire 18. Pater, J. B. . „ XII La Toilette 19. Pater, J. B. . „ XIII Troupe de Comediens Ambulants 20. Pater, J. B. . . L’Orquestre du Village 21. Pater, J. B. . . L’Escarpolette 22. Pater, J. B. . • La Danse 23. Tournieres, R. L. (?) • Duchesse de Chateauroux (?) 24. Troy, J. F. de Plate XIV La Surprise 25. Troy, J. F. de(?) . • “Sylvia” (Jeanne-Rose-Guyonne Be- nozzi) 26. Boucher, F, . Plate XV L’Attention Dangereuse 27. Boucher, F. . . A Cartouche ( drawing , black chalk) 9i TABLE OF CONTENTS 92 CATALOGUE NUMBER 28. Boucher, F. . . Bergers adorant l’Enfant Jesus ( draw - ing, sepia and white) 29. Boucher, F, . Plate XVI Shepherdess and Cupid ( drawing , crayon ) 30. Charlier, J. . „ XVII Nymph and Satyr (after Boucher) ( gouache ) 31. Nattier, J. M. ,, XVIII Jean-Philippe d’Orleans 32. Nattier, J. M. ,, XIX La Nymphe de la Source 33. Nattier, J. M. . Madame de Caumartin 34. Nattier, j. M. • Danae and the Golden Rain {pencil) 35. Unknown, c. 1725-50 • Philippe-Elisabeth d’Orleans, Made- moiselle de Beaujolais (?) 36. Chardin, J. B. S. . Plate XX Les Tours de Cartes 37. Chardin, J. B. S. . „ XXI Le Gar9on Cabaretier 38. Chardin, J. B. S. . „ XXII L’Ecureuse 39. Chardin, J. B. S. . ,, XXIII Dame prenant son the 40. Chardin, J. B. S. . La Blanchisseuse 41. Chardin, J. B. S. . La Fontaine 42. Chardin, J. B. S. . Xavier Le Prince, Fils. 43. Chardin, J. B. S. . Le Faiseur de Chateaux de Cartes 44. Chardin, J. B. S. . Still Life: A kitchen piece 45. Dumont, Jean (?) . Portrait of the Artist (?) ( miniature oval on ivory) 46. Mercier, P. (?) . Portrait of a Man 47. VlGEE, L. . Plate XXIV The Marquise de Pompadour (?) as a Pilgrim ( pastel ) 48. Liotard, J. E. . A Turkish Gentleman ( drawing , red and black chalk) 49. Liotard, J. E. . Plate XXV A Turkish Lady {drawing, red and black chalk) 50. Unknown, c . 1750-57 . James Dawkins, Esq. {pastel) 51. La Tour, M. O. de . Plate XXVI Henry Dawkins, Esq. {pastel) 52. Perronneau, J. B. ,, XXVII Petrus W oortman 53. Blanchet, L. G. (?) • Henry Benedict Stuart, Cardinal York 54. F AYR AY, A. DE Plate XXVIII Dames Maltaises 55. Drouais, F. H. ,, XXIX Marie-Jean Herault de Sechelles 56. Drouais, F. H. ,, XXX Princesse Marie-Adelaide-Clotilde 57. Le Prince, F. B. . . Russian Peasant Women {drawing, pen, pencil and wash) 58. Vernet, C. J. . Plate XXXI An Italian Port 59. Vernet, C. J. . Tivoli 60. Saint-Aubin, G. de Plate XXXII Portrait Studies {pencil) TABLE OF CONTENTS 93 CATALOGUE NUMBER 61. Saint-Aubin, G. de Plate XXXIII Portrait Studies of Mile. Clairon 62. Saint-Aubin, A. de „ XXXIV Portrait Studies 63- Saint-Aubin, A. de ,, XXXV The Duet ( drawing , gouache) 64. Greuze, J. B. . „ XXXVI La Vertu chancelante 65. Greuze, J. B. . „ XXXVII L’Ecouteuse 66. Greuze, J. B. . Supposed Portrait of the Painter 67. Greuze, J. B. . Head of a Girl with blue fillet 68. Greuze, J. B. . Head of a Girl with green fillet 69. Greuze, J. B. . Head of a Child (drawing, sanguine) 70. Greuze (School of) Portrait Study of Cecile Volanges (?) 7 1 * Unknown, c. 1775 . Portrait of a Man with a Scar 72. Fragonard, J. H. . Plate XXXVIII L’Education fait tout 73 - Fragonard, J. H. . „ XXXIX L’Amant Impetueux (drawing, pencil and wash) 74 - Fragonard, S. B. . „ XL Study of a Head (drawing, sepia) 75 - Lavreince, N. „ XLI Jeux galants (drawing, watercolour) 76. Hall, P. A. . . Portrait of a Lady (miniature on ivory, oval) 77 - Robert, Hubert . The Colonnade of St. Peter’s (drazving, sanguine) 78. Huet, J. B. . Leda and the Swan (drawing, pencil and water colour) 79. Huet, J. B. . Une Bergere (pastel) 80. BoiSSIEU, ]. ]. DE . . Interior of a Scullery with Two Figures 81. Moreau le Jeune, J.-M. Plate XLII Couronnement de Voltaire (drawing, pen and sepia) 82. Moreau le Jeune, J.-M. ,, XLIII Declaration de la Grossesse (drazving, pen and sepia) S 3 - Moreau le Jeune, J.-M. ,, XLI V N’ayez pas peur, ma bonne Amie! (drawing, pen and sepia) 84. Vestier, A. . A Maid of Honour to Marie Antoinette (miniature on ivory , circular) 85 - Dumont, F. . Portrait of a Lady in Straw Hat (minia- ture on iruory, oval) 86. Dumont, F. . La Princesse de Lamballe (miniature on ivory, circular) 87. Augustin, J. B. J. . . Porphyre Ducruet ( miniature ) 88. Augustin, J. B. J. . . Mother of the Artist (miniature) 89. Augustin, J. B. J. . . Portrait of a Lady (miniature on play- ing card, oval) 90. Augustin, J. B. J. . . Portrait of a Lady with a Bunch of Flowers (pencil, miniature, oval) 94 TABLE OF CONTENTS CATALOGUE NUMBER 91. Boilly, L. L. Plate XLV Jeune Peintre avec son Modele 92. Boilly, L. L. „ XLVI La Bienfaitrice 93 - Gerard, Marguerite . ,, XLVII Les deux Colombes 94. Gerard, Marguerite . ,, XLVIII Maternite SCULPTURE 95. Caffieri, Jean-Jacques Plate XLIX 96. Houdon, Jean- Antoine ,, L 97. Marin, Joseph-Charles 98. Marin, Joseph-Charles 99. Marin, Joseph-Charles foo. Pajou, Augustin (In the manner of) , . Bust of a Man in marble Voltaire. Statuette in terra-cotta A Nymph. Bust in terra-cotta A Bacchante. Bust in terra-cotta A Bacchante. Bust in terra-cotta Bust of a Lady FURNITURE 101. Riesener and Gouthiere Plate LI 102. Oeben, J. F. . 103. Louis Seize (later style and period) 104. “ B.V.R.B.” 105. Louis Seize (period) . 106. Louis Seize (style and period) 107. Louis XV (style, but probably English) 108. Louis XV (middle style and period) 109. Middle of XVIIIth Century no. Louis XVI (style and period) hi. Louis XVI (later style and period) 1 1 2. Louis XVI (later style and period) Plate LI I Upright Secretaire Dwarf Marquetry Secretaire Upright Secretaire Small Bureau Gueridon Small Writing Table Bureau-Cylindre Small Table with Drawers Table of Walnut Wood Two Armchairs Two Armchairs with BeauvaisTapestry Canape with Beauvais Tapestry ORMOLU (FLAMBEAUX, CLOCKS, ETC.) 1 13. Louis XIV (later style and period) 1 14. Louis XV (earlier style and period) 1 1 5. Louis XVI (period) 1 16. Louis XVI (later style and period) 1 1 7. Louis XVI (later style and period) Pair of Candlesticks (Flambeaux) Pair of Candlesticks Pair of Candlesticks Pair of Candlesticks Pair of Candlesticks TABLE OF CONTENTS 95 CATALOGUE NUMBER 1 18. Louis XIV (latest period) Clock, Boulle 1 19. Louis XV (earlier style and period) Clock by Caron (red Vernis Martin) 120. Louis XV (later style and period) . Clock in form of a Statuette of As- tronomy 121. Louis XV (period) . Clock by Duchesne on bronze Elephant 122. Louis XVI (period) . Clock in form of a dark blue Vase 123. Louis XVI (early style and period) Clock with Figures in style of Falconet 124. Louis XVI (early style and period) Fittings of a Door, of gilt bronze 125. Louis XVI (later style and period) Oval Marquetry Panel with Mount by Gouthiere or Thomire 126. Louis XVI (later style and period) Brule-parfums, marble mounted in or- molu 127. Louis XVI (later style and period) Dark blue Vase (Ch’ien Lung) mounted in ormolu PORCELAIN 128. Apple Green Sevres 1769 . . . Brule-parfums. Vase and Cover, painted by Morin 129. Apple Green Sevres (or Vincennes) . Vase-Tulipe, painted after Boucher SNUFF-BOXES AND OTHER SMALL OBJETS DART 130. Oblong Snuff-box, with revolutionary scenes. By Guerin 1 3 1 . Round Snuff-box, tortoiseshell, painted with military scenes, mounted in gold 132. Oval Snuff-box, violet enamel, mounted in gold 133. Necessaire, agate, with open-work gold mounts 134. Necessaire, bloodstone, with open-work gold mounts 135. Etui, tortoiseshell, with gold pique decorations 136. Etui, flat, of grey stone, gold mounts 137. Etui, tortoiseshell, with gold pique decoration 138. Scent Bottle, cut crystal, open-work gold mounts 139. Watch, gold, enamelled in colours, medallion en camaieu CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON.