HANDBOUND AT THE
UNIVERSITY OF TORONTO PRP*;<:
Boucher.
ktr.
BOUCHER
. Man, His Times, His Art, and His Significance
1770
by
Haldane Macfall
N •
THE CONNOISSEUR
CARMj
"Connoisseur" Extra Number.
BOUCHER
The Man, His Times, His Art, and His Significance 1703 1770
by
Haldane Macfall
LONDON :
PUBLISHED BY
THE CONNOISSEUR
CARMELITE HOUSE, B.C. 1908
CranforZr
GEO. PULMAN AND SONS, LTD, LONDON AND WEALDSTONE.
CONTENTS.
PAGE.
List of Illustrations - 3
Authorities on Francois Boucher - - - , - lo
Francois Boucher — A Biographical Sketch - - 13
Illustrations - - - , . . . - 81
Record of principal Pictures and Drawings sold by auction
(with sale prices) from 1745 to 1908 - - - - 145
LIST OF ILLUSTRATIONS.
PAGE
Pastoral Subject. Louvre . Colourplatc. Frontispiece
Portrait of a Young Woman - M 12
The Rape of Europa. Louvre • „ • 19
The Nest. Louvre - „ - 26
The Source. From the Engraving by Demarteau - „ - 31
Bergere aux Fleurs. Louvre • • • „ - 37
. Diana leaving the Bath. Louvre M 43
Domestic Scene. Louvre . . go
~ Rinaldo and Armida. Louvre - . 55
•^Mme. de Pompadour. From a Coloured Plate by Franz Hanfstaengl - . 61
Le Desir de Plaire „ - 68
A Bacchante. Attributed to Boucher - „ - 74
Portrait of Boucher. From the Engraving by Carmona, after Roslin - - . - 81
Mme. de Pompadour. Victoria and Albert Museum . . - 82
Mme. de Pompadour. Wallace Collection . . 33
• The Toilet of Venus. Louvre . . 84
Venus disarming Cupid. Louvre . . 85
Le Coucher de V6nus. Chartres Museum . 86
The Rising of Venus. Chartres Museum . 37
Love, the Bird-catcher. Collection of Mr. Alfred de Rothschild . . 88
Love, the Vintager. Collection of Mr. Alfred de Rothschild - . 89
Pastoral Subject. Collection of Mr. Charles Wertheimer - . 90
Pastoral Subject. Collection of Mr. Charles Wertheimer . 91
La Bergfere Ecout6e. Mme. Besnard's Collection • 92
Venus demanding Arms for ..Eneas from Vulcan. Louvre • 93
Birth and Triumph of Venus. Collection of Mr. Alfred de Rothschild - . 94
The Toilet of Venus. Collection of Mr. A Ifred de Rothschild . 95
The Muse of Painting. Glasgow Gallery . 96
"Mme. de Pompadour. Versailles 97
Bird-catchers (La Chasse). From an Engraving by ]. F. Beauvarlet - . 98
The Pretty Kitchen-maid (La Belle Cuisiniere). From an Engraving by P. Aveline 99
Cupid Captive. Wallace Collection . 100
Venus and Mars Surprised by Vulcan. Wallace Collection - . 100
The Judgment of Paris. Wallace Collection - - 101
Venus and Vulcan. Wallace Collection - - 101
Cupids on Clouds. From a Drawing in the British Museum . 102
Sketch of a Cupid. From a Drawing in the British Museum . 103
The Little Flute Player. Chartres Museum . - - 104
Soap Bubbles . 105
Cupid, with Grapes. Prom an Engraving by Demarteau - . 106
The Altar of Friendship. From an Engraving by Demarteau . 107
The Infant Christ and St. John. In the Collection of Baron D'Erlanger - - . 108
The Egg-Seller -, . 109
Calisto surprised by Love. Wallace Collection • .... 109
Cupids with Emblems of their Cult. Victoria and Albert Museum - \\Q
Design for a Fountain. Victoria and Albert Museum - . - 110
Child Study, in sanguine. Mr. Romaine Walker's Collection , - . - 1 10
The Lady with the Fan. Musee National, Stockholm - - - . - 1 1 1
Diana Reposing. Ch. Sedelmeyer Collection . . . \i%
Study of a Musician. From a Drawing in the Brilish Museum - . 113
Study of a Draped Female Figure. From a Drawing in the British Museum - - 113
The Fortune-Teller. Versailles . . - 114
8
A Set of Four Decorative Panels, in the Collection of Sir Joseph B.
Robinson, Bart. • • • - - 119
LIST OF ILLUSTRATIONS— continued.
PAGE
The Fisherman. Versailles - 115
Venus Disarming Love. Collection of Mr. Alfred tie Rothschild 116
The Three Graces. Louvre • 1 17
A Pastoral. Wallace Collection 1 18 The Fortune-Teller ; The Love Message; Love's Offering ; Evening ;
Venus and Cupid. Drawing in Crayon, heightened with white and sanguine 120
Diana and a Nymph Reposing. Ch. Sedelmeyer Collection • 121
Watermill at Charenton 122
Cupid Subject 122
The Sleeping Shepherdess. Wallace Collection - 123
The Setting of the Sun. Wallace Collection 124
Neptune and Amyone. Versailles 125
Girl with a Dove. Mr. G. Harland- Peck's Collection 126
Fishing. Ch. Sedelmeyer Collection 126
Pastoral Life. Kami Collection 127
Pastoral. Ch. Sedelmeyer Collection 128
The Shepherd. Ch. Sedelmeyer Collection 129
Vulcan presenting Arms to Venus. Louvre 130
Bust of Young Girl. Crayon drawing heightened with pastel ', formerly in Beurdelty Collection 131 Portrait of Alexandrine d'Etoilles. Crayon drawing heightened with white, formerly in Beurdtlcy
Collection 131
The Birth of Bacchus. Collection of M. le Baron Edmond de Rothschild 132
Female Study. From a. drawing in the British Museum 133
Pensent-ils a ce Mouton ? From the engraving by Madame Jonrdan 133
Chinese Fishers 134
Venus and Vulcan. Versailles 134
The Artist. Collection of M. Leon Bonnat 135
Psyche's Sisters. Beauvais Tapestry after Boucher 136
The Basket-Maker. Beauvais Tapestry after Boucher 136
Fishing. Beauvais Tapestry after Boucher 136
Boreas and Orithyia. Boucher Tapestry 137
Summer, or Rustic Pleasures. Beauvais Tapestry after Boucher 137
Psyche Abandoned. Boucher Tapestry - 138
Le Magniflque. From an engraving by De Larmessin 138
La Marchande de Modes. Music National, Stockholm 139
Landscape Sketch. From a drawing in the British Museum • 140
Female Nude Study. From a drawing in the British Museum 140
i Venus going to Bathe. Mr. G. Harland-Peck's Collection • 141
The Rising of the Sun. Wallace Collection 141
Sketch of Two Cupids. British Museum 142
Design for a Beauvais Tapestry-panel. Victoria and Albert Museum 142
Peasant Girl and Children. From a drawing in the British Museum - - 143
Sketch of a Lady. From a drawing in the British Museum • 143
The Artist. Collection of M. le Baron Edmond de Rothschild - - - 144
AUTHORITIES ON BOUCHER.
FRANCOIS BOUCHER, by Andre Michel, a sumptuous volume, beautifully illustrated, published by Piazza., of Paris, 1506. with an almost complete list of his works and engravers. The letterpress of this book, the best authority on Boucher so far, may be had in a cheap form without the list of works, in
FRANCOIS BOUCHER, by Andre Michel, in Les Artistes Celcbres series, 44 illustrations, 5 francs. 1886.
FRANCOIS BOUCHER, LEMOYNE ET NATOIRE, by Paul Mantz (Quantin, of Paris, 1880,
large folio). FRANCOIS BOUCHER, by Edmond aud Jules de Goncourt, with four eaux-fortes by the authors —
being the essay separately published and specially illustrated from
/ L'ART AU XVIII" SIECLE, by Edmond aud Jules de Goncourt, 3rd edition, in two quarto volumes, 1882.
j L'CEuvRE DE BOUCHER, by Emile Wattier, Paris s. d.
For contemporary writings and criticisms, details may be found in the : — ARCHIVES NATIONALES (cartons et registres de la serie O). MERCURE DE FRANCE, a contemporary periodical, years 1725-1770. ARCHIVES DE L'ART FRANCAIS (1851-60). REFLEXIONS SUR QUELQUES CAUSES DE L'ETAT DE LA PEINTURE, by Lafont de Saint-
Jenne (1747). LETTRE SUR L'EXPOSITION DES ODVRAGES DE PEINTURE, &c., DE L'ANNEE, 1747, by
the AbbcS Leblanc. OBSERVATIONS SDR LES ARTS, &c., EXPOSES AU LOUVRE EN 1748, by Saint-Yves.
OBSERVATIONS SUR LES OUVRAGES DE MM. DE L'ACADEMIE ROYALE, &c., EXPOSES AU SALON DE 1753, by the Abbi Leblanc.
CORRESPONDENCE LITTERAIRK of Grimm (edition Tourneux).
SALONS DE 1759, 1761, 1763, 1765, 1767, 1769, by Diderot (edition Assezat-Tourneux).
REVUE UNIVERSELLE DES ARTS (published by Paul Lacroix).
NECROLOGE DES HOMMES CELEBRES ; ELOGE DE M. BOUCHER, PREMIER PEINTRE DU ROI (Paris, 1770).
GALERIE FRANCAISE ou PORTRAITS DES HOMMES ET FEMMES CELEERES QUI ONT PARC EN FRANCE (Paris, 1771).
LES TROIS SIECLES DE LA PEINTURE EN FRANCE ou GALERIE DES PEINTRES FRANCAIS
DEPUIS FRANCOIS i«r JUSQU'AU REGNE DE NAPOLEON, &c., &c. (Paris, 1808). ANNALES DB LA SOCIETE LIBRE DES BEAUX-ARTS (Du Rozoir, 1841-42). FRENCH PAINTERS OF THE XVIII. CENTURY, by Lady Dilke (1899). LES TROIS SIECLES DE LA PEINTURE EN FRANCE, by Gault de Saint Germain. WALLACE COLLECTION — Paintings at Hertford House, by A. G. Temple. 2 vols., 410., 1902. ART JOURNAL (1901-6)— essays by Claude Phillips. v/Lis PEINTRES DES FETES GALANTES, by Blanc (1854).
BOURGES : SOCIETE DES ANTIQUAIRES ; memoires XXV., 162 (1902). GAZETTE DE BEAUX ARTS (3 s., xviii., 390), 1897. BURLINGTON MAGAZINE, vii., 233 (1905). L'ART, 3 s., iv., 493 (1904).
(EUVRE DE JEAN DAULLE (a portfolio of engravings). Dyce Collection at South Kensington.
10
PORTRAIT OF A YOUNG WOMAN (LOUVRE).
FRANC OUC
Simple pli-
>.al certi
t
.- ,dd to
tUt «w -to wagj^f. the • ladies' 0c-« KM \.-d he wan I* vf^trri, lay -
e*t«'«. the father, * /••vf..'»-f, whit: ttcr ; " yet it though the b
-i heir modest .
/
r ment i>.- 29th da:.
Paris a man-child statement, penned ) sincerity the , to hint that the chil ' roll of fame. A gos- Saturday child — therefore. , a to he something cf a cl
Thus the significant . old women's tattle.
At the making of the writes himself down / though one said " foremiu. j of more solid substance, .*<n simply as Elizabeth Le«.<?«»i la Verrerie — -godfather France t sij,
in the d* : to bf.'ing huissier aux i
tip. of the Kin^, as one g;U>
^ as being daughter to a /- which savours of some fussv om'cer about the police-court. Hmvr
an obscure, honest ti in me. ~.\ enough, des>
chairs, and the like— "an inferior ... fortune," runs the grim recorded verdi.
The child was born into a Par;-; , The star of the I Monarqu.
was nearing the ;ng In
was one vast after catastroph be lowered still ' birth saw the Eiuv high seas, destro> .irryinj; millions of r The child conquering !\
•IT OF A YOU NO WOMAN (LOUVRlif.
-/FRANCOIS BOUCHER.
i
1703 1790
I.
THE simple phrasing of a baptismal certificate in the parish church of Saint-Jean-en-Greve was the first announce- ment to a formal world, little heeding of it, that, on the 29th day of September in the year of 1703, was born to Paris a man-child christened Fran9ois Boucher ; 'twas a written statement, penned in simple, blunt fashion, recording with bold sincerity the insignificancies of a career, but wholly lacking as to hint that the child was destined to add to the great city's long roll of fame. A gossip tongue or so wagged, no doubt. A Saturday child — therefore, as the old ladies' scandal has it, born to be something of a clever scamp. And he was nothing less.
Thus the significant thing, as often, lay in the midst of the old women's tattle.
_,- At the making of the certificate, the father, Nicolas Boucher, writes himself down maitre peintre, which is somewhat as though one said "foreman painter;" yet it is clear that he was of more solid substance, since, though the boy's mother appears simply as Elizabeth Lemesle — their modest home in the rue de la Verrerie — godfather Fra^ois Prevost signs as witness, and, in the doing, owns to being huissier attx requetes du palais — tipstaff to the palace of the King, as one gathers — and godmother Boullenois as being daughter to a procureur au Chatelet de Paris, which savours of some fussy little consequential law- officer about the police-court. However, the father would appear to have been an obscure, honest fellow, given to the trade of art in mediocre fashion enough, designing embroideries, covers for chairs, and the like — "an inferior designer, little favoured by fortune," runs the grim recorded verdict of his polished day.
The child was born into a Paris a-gossip with stirring events. The star of the Grand Monarque was setting ; Louis XIV. was nearing the end of his long lease of sovereignty. Europe was one vast armed camp. France was bleeding from catastrophe after catastrophe, suffering terrible carnage ; her pride about to be lowered still further at every hand. The year of Boucher's birth saw the English admiral Rooke whip Chateau-Renaud off the high seas, destroying the French and Spanish fleets in Vigo bay, and carrying off in treasure from the captured galleons some seven millions of pieces-of-eight.
The child's first year saw the English troopers of the all- conquering Marlborough ride down the Frenchmen at Blenheim,
13
putting an end to the world's long dread of the Invincibility of the French arms— a day that made " Malbrook " a name of fear to every child throughout France.
The small toddling Francois' awakening understanding heard of the horror-whispered losses of thirteen thousand Frenchmen on the bloody field of Ramillies ; then of Oudenarde ; then of Lille. To his six-year-old ears came the dread news of Malplaquet. His seventh year saw Paris essaying the holiday-mood, with bells a-ringing, for the birth of a great-grandson to the old king — a sickly child, that was to succeed him as Louis Quinze. Yet the coming of the little princeling brought the old king luck, for the following year saw the fall from power of Marlborough, which freed the last days of " France" from the terror of his name.
The boy Boucher, for he is now at sturdy twelve that cocks an ear to great events, would hear cackle as to the death of the king in his lonely old age — his son, the Dauphin with the "half-taste for the arts," his grandson, and his grand-daughter all suddenly being cut off before him — would listen to the palace gossip, indeed, is not godfather Fra^ois Prevost tipstaff there, gossip of the herald of the Court, appearing at the sickly great-grandson's window with the black plume in his hat, to whisper low " The King is dead!" and reappearing immediately afterwards, with white plume in the hat, to cry aloud : " Long live the King ! " For the five-year-old sat upon the throne of France as Louis XV.
The youth Boucher grew up to manhood in a France that lay under the Regency of the dissolute and brilliant Orleans. But high politics had little claim upon him ; he had one sole ambition — to become an artist.
He was concerned with a far more engrossing event in this year of 1720 than the utter financial chaos of all France which was supreme when he reached this his seventeenth year. Nicolas Boucher, the father, seems to have been an obscure fellow enough ; but, unlike mediocrity, to have realised his mediocrity ; for, having himself given the lad his schooling with pencil and brush, the honest Nicolas had the astuteness to put his son to the studio of Lemoyne — (Le Moine, Lemoine) — (they spelt airily in those days) a painter of ceiling-pieces and the like — he who covered the ceilings at Versailles with goddesses in the grand manner, and astounding well — a true artist and a great one, and rapidly becoming famous. v Lemoyne, at the height of his career, was a well-chosen, an ideal master for the promising youth. Founding his art upon that " of Correggio and Veronese, Lemoyne had rid himself of slavish /'academic or senile tendencies of imitation of the great Italians, and sounded a marked French note, painting with all a Frenchman's grace. And Boucher, with the astounding gift of rapidly acquiring what he desired to acquire from others, and of rejecting what did not interest him, absorbed direct and at once from Lemoyne's already French utterance that basic grounding in the old masters that it would have taken him years of drudgery to get from the Italian models
14
/
y
- which were then the inevitable and only schooling — it would have taken him even more benumbing years to rid from his craftsman- ship the cold foreign accent which had been already whittled away from the better part of the Italian genius by Lemoyne.
Boucher is said to have stated that he was but three months with Lemoyne, who "took scant interest in his pupils." If so, c had marvellous gifts of assimilation ; for, on the day he left Lemoyne's studio, a youth of seventeen, he stepped out of it a finished artist, a sound and accomplished craftsman, fully equipped /with all the trade-secrets and tricks of thumb of his master, and a facile copyist of his handling and manner and style. The testimony of Boucher, an unwontedly generous man in all things, might not seem above suspicion, were it not that he had prodigious application, untiring industry, a passionate love for his work, and a quick and alert mind. He was remarkably free from the hesitancies of the student — daring in experiment — eager in venturing.
Indeed, this young fellow of seventeen took down all that Lemoyne had built up and created, as at a gulp ; and on the eve of manhood he so rivalled his master in accomplishment that, for some years after he left Lemoyne's studio, it is dangerous to attribute pictures to the pupil except under the most searching and clear evidence.
To the end of his days, Boucher held the art of Lemoyne in the highest esteem and reverence, never ceasing from lauding it. In long-after years, when Boucher was at the height of his fame, the owner of a picture by Lemoyne begged Boucher to complete it; only to be met with the solemn reproof: "To me such works are sacred vessels — I should dread to profane them by touching them." At any rate, master and pupil parted with no grudge or ill-feeling on either side.
On leaving Lemoyne's studio, Boucher went to live with P£re Cars, the engraver, who engaged him to design drawings for the plates for his gravers — P£re Cars allowing him his food, lodg- ing, and sixty livres (double-florins) a month. Boucher accounted his fortune made. Lemoyne and the Cars were closely connected in their work — Laurent Cars, son of " Pere Cars," and an intimate friend of Boucher's, it was who engraved the series of plates after Lemoyne. Lemoyne's brilliant pupil, Boucher, would naturally be recommended to the Cars by the master who, astounded at the painting of a Judgment of Susannah by this youth of seventeen, burst into prophecy of his achieving greatness in the years to come.
II.
THE cheery, gay young artist went at his work at Cars' with all the enthusiasm of youth, and with that energy for work, as for pleasure, that sent him jigging through life at fullest pitch all his days. He blithely threw off anything that was wanted ; gave himself no small airs ; bringing to whatsoever
is
he set his hand the same address and charm and invention. Tail- pieces to the printed page, frontispieces, vignettes, emblems, coats-of-arms, freemasons' diplomas, first-communion cards, initial letters — all were the same to him. Laurent Cars engraved an alphabet almost completely designed by him. Boucher made himself known also to the makers of books, and let no chance of working for them slip by — thus and otherwise, by every means within his reach, filling a lean purse that was as quickly emptied.
The more important prints were soon given to Boucher to create, / and several were signed with his name. Indeed his fertile brain, J quick inspiration, and facile hand were given free range from an early start — and his decorative sense rapidly developed.
In the midst of this busy making of anything that came to his hand, the young fellow was taking part, between whiles, in the competitions for the Academy. He worked with what he could, how best he could, uncomplaining and cheery always.
About the last day of the last year of his teens, on the 29th of December, 1722, near by in another corner of this same Paris, happened a little, a strange, thing, that was to have a profound effect upon our youth, Boucher — still more upon the handsome twelve-year-old boy who sat upon the throne of France — nay, upon all France herself, from end to end of her. Yet it chanced in simple privacy enough ; and no heralds proclaimed it in the streets of Paris No bells were set ringing. There was born to a financial fellow of shady repute, one Poisson, a company-promoting rogue, a little girl-child whom they christened Jeanne-Antoinette Poisson. But, in the cradle of little Jeanne, good and evil fairies flinging a mixed largesse of qualities, her evil or fairy godmother stealthily hid, among the pretty little morsel's skirts, the diadem and sceptre of France — and no doubt set the impish ones a-laughing. But they that had the seeing eye of the prophet would have foretold that the girl-child was at no distant day to become a marchioness of France — and no ordinary one, but Marquise de Pompadour, that the world shall know in immortaj fame of infamy as thief of a King's will and filcher of his sceptre, as of France's honour.
The youth knows nothing of the girl-child, no hint of this sudden thing flung into the coil of his destiny — cares less ; nay, scarce takes much more interest in the boy-king of all France, little realising that one day they must all three come together; but is concerned the rather with the looking-glass and clean-shaving and the latest-cut of dandified coat and the style in coiffing of the hair, for which more interesting fashions he has the taste, if only with the lean art-student's leaner purse to gratify such dandyisms as are in him, or to follow the loose manner of morals that are in the vogue amongst the careless laughing folk of this rollicking Paris of the Regency in which he is springing up to man's estate — and to which, be it confessed, he is to take kindly enough.
_/ The youth Boucher was living the artist's life, concerned with nothing but art. What cared he for the King or the King for him ? Yet for the twelve-year-old Louis of France the web of fate
16
J!.
was weaving patterns not without significance. For it was in the next year of 1723, that even the careless ears of our Boucher heard, where he stood on the edge of manhood, the boy-king declared to be of man's estate — his legal majority, as the lawyers have it, announced to all France — heard also, if as carelessly yet perchance looking up awhile from his colours and brushes and easel, for he is becoming a gossiping Parisian and the streets are full of it, of the sudden deaths of Orleans by stroke of apoplexy, and of his precious minister, the boon- companion of his wild devilments, the infamous Cardinal Dubois — he who had intrigued France into accepting the papal bull Unigenitus that is to make a hell of so many homes throughout this fair France ; both dead as the result of their debaucheries.
Of a truth, this year of 1723 held a more tense thrill for the young rtist than high or low politics. His dogged efforts to win recog- nition from the Academy were rewarded at last. Laugh he did at the ungainly title set him for subject. But he straightened his face ; set himself to the business with a will ; and his solemn effort to achieve the academic in paint with Evilmerodach, fils et successeur de N abuchodonosor , delivrant Joachim des chaines dans lesquelles son pere l>e retenait depuis longtemps took the first prize — he won the envied ^ bays of studentship, was carried shoulder high round the Louvre by his boisterous comrades, and deposited at his lodgings, an eleve couronne.
The collectors forthwith began to notice the brilliant young fellow. Everyone has a good word for genial, unjealous, warm- hearted Fran9ois Boucher, who is friend to all. Baron de Thiers orders works from him that hold their place " even in his fine collec- tion." But this hot enthusiastic young man needs no paying orders to make him work. He can rub along one way or another. But he paints from sheer joy in the doing, eager only to get the good thing done, and to display the skill of his hand's work for the glory of it. " His studio is his church." He is a born giver — gives himself to his work, to his friends, to his pleasures, to all he does, with both hands. Gives the precious works, upon which he has lavished his whole strength, to his friends free-handedly when done. A worker in marble, one Dorbay, takes advantage of the generosity, furnishes his whole house with large pictures by Boucher — for ^/nothing ! A Rape of Europa, of this his Cars period, finds its way into so choice a collection as that of M. Wattelet.
Boucher has won the student's highest prize. He must move on to Fame. Nay, our Fran9ois even counts fame cheaply enough, seizing eagerly at the occasion of the public street-exhibi- tions known as the Exposition de la Jeunesse, to make his work more widely known — hanging his pictures on the tapestries and carpets and such like, which, by order of the police, the citizens had to hang out to decorate their houses during the procession of the Fete- Dieu along the Place Dauphin and the Pont-Neuf.
However, these works of his youth hold but a very distant hint of that art which is to make the name of Boucher famous. These
17
religious pictures, engraved and published in the following year, reveal the young man's small interest in his subjects. As a fact, religious art never caught Boucher's fancy. His interest, in presence of it, flags.
It was in the year after Boucher entered the house of Pere Cars that Watteau died — the eager life of the greatest living artist of France burnt out the afflicted feeble body. So it came that, some four years after, De Julienne, the dead man's friend, seeking to publish his (Euvres d'Antoine Watteau, walked into the engraving studio behind Pere Cars' shop in the Rue Saint-Jacques, where Boucher was wont to spend much of his time with his friend Laurent ; and thereby brought into young Boucher's career an influence that, wedded to his already sound training under Lemoyne, 'was to lead his achievement to its great goal. De Julienne ^engaged the young fellow to carry out some 125 of the engravings. The business brought Boucher rare delight. De Julienne gave him 24 livres a day, to the no small contentment of both. Boucher was a facile and prodigious worker; he joyed in this taste; and he learnt just those lessons from the master that were needed to an enhancement of his own art. Above all it had revealed to him that, when his position was secure, when the academic prizes were won, it was to France that a French artist must look for the foundations on which to build — Watteau revealed the spirit of France to him.
Thus, in such varied and many enterprises, turning his wits to embellish all that came to his hand, and in the study of nature and the laws of his art, Boucher spent four fours as eleve couronne. The time had come for him to complete his artistic education according to the ideas of the times, an impossible thing to the artist of his day without the Italian tour. He had to think of going to / Rome. It was a part of the quaint paradox of the man, a part of the irony of his nature, that he waded through all the formalities only to triumph over them in order to reject them. It were as if he had set himself to prove that he could do the ordinary thing with consummate skill. His individuality and his genius overpowered all pedantry. To Rome, at twenty-five, therefore he decided to go.
The Royal School of 'dives proteges was not created until more than twenty years afterwards, when Boucher was at the summit of his great career. He certainly did not go at the King's expense. He as certainly did go to Rome — with Carle Van Loo and his two nephews Fra^ois and Louis Van Loo — since, in June 1728 we find Wleughels, the director of the Academy at Rome, reporting his arrival there, "an unaffected youth and of marked J merit," whom he has been able to " stuff into a little hole of a room presque. hors de la maison " — a hospitality sometimes offered to young French and foreign artists.
Of Boucher's doings in Rome, during his stay — whether, as gossip says with much contradiction, his stay was of the shortest, or whether constant illness numbed his wontedly busy brain and hand for work of any kind — little is known. The eager imagination
18
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".XjNili** *':. i-\ K« v4i EW •
is easily made idle by the overwhelming sense of a new place ; and the treasures of Italy might well silence for awhile a man whose eyes had so much to feed upon. The spiteful, bitter, but otherwise ill-informed and ill-qualified Du Rozoir vowed, not without hint of gall, that Boucher understood nothing of, and cared less for, the masterpieces of the great Italians — that he voted Raphael " fade " (insipid), Carraccio " gloomy," Michael Angelo " bossu " (contorted).
So far from being an object of derision such as the vile little pedantic mind of Du Rozoir would think him, if Boucher uttered such judgments he is to be admired ; he showed an admirable courage and a sincerity far too rare even in such men as our own Reynolds. He displayed a quality that would largely account for his own high achievement — a downright and vigorous will to see for himself, to judge for himself, instead of servilely peering through the spectacles of others. Such judgment would save the world from oceans of cant and stupidity in high places. There is something vastly refreshing in finding a great artist ridding himself of all artistic and intellectual snobbery so — from the very start. To dare to state the faults of the great dead is not to deny them their mighty qualities. And when the frank truth is spoken, though it had been sacrilege to say it Until a few years ago, Raphael is "fade" in many ways, his Madonnas do show insipid — Carraccio is gloomy — Michael Angelo is " bossu." There's no getting away from it. Yet there are mighty qualities in their masterpieces that Boucher perhaps felt more keenly than the snobbery-ridden Du Rozoir, if all were known. It does not follow that because an artist has no particular sympathy with an old master, or is uninfluenced by that master, that he denies him power. Were Velazquez or Frans Hals influenced by Michael Angelo or Raphael ? Are they the lesser thereby ? Are they not in some measure the greater ?
It were idle to seek to trace his footsteps during these wander- years of twenty-five to twenty-eight — idle to wonder whether he stood before the Correggios at Parma or the masterpieces of Veronese at Venice. The art of Tiepolo we know he knew, and that he felt its appeal. A poor enough engraving by Jeaurat in 1734 after a picture by Boucher, Paysanne des environs de Ferrare, looks as if he had stayed his feet at Ferrara on the way to Venice. His picture of the Temple of Concord and the road to the Vatican proves that his brush was not as idle as gossip would have it at Rome.
There were two Italian painters who were at that time adjudged to be amongst the greatest masters of the past, with whom the critics of the day rarely lost a chance of comparing Boucher on his return from Rome — it is repeated time and time again — " the facility and grace of Albani " and " the beauty of arrangement and grouping and the large sense of chiaroscuro of Pietro da Cortona." Tj> For, mark you, the leading critics, even Diderot whom we shall soon see bitterly assailing him — being indeed as honest a literary man as he was a wretched art-critic — thus hailed Boucher on his
21
./ return from Italy as a painter whose art was remarkable for "vigorous and virile beauty."
Certainly in The Meeting of Rachel and Jacob, the Eliezer et Rebecca, and Jesuit Martyrs in Japan, the fine engravings by Laurent Cars prove the staying of Boucher's feet before the big affairs of Pietro da Cortona, of Benedetto Castiglione, and of Giovanni Lanfranco. And the score of the like religious canvases which the catalogues of sales betray that he painted in Italy or immediately on his return from Italy were no doubt in the same manner. Indeed we shall see much of these influences even in the picture which he is soon to paint of the Marriage of the Children of God with the Children of Men, which marks the end of his Italian period and his entrance into his kingdom, where he set up Venus upon his altar and turned his back on sacred art.
Here, be it remembered, we see Boucher grimly setting aside his own taste, and doggedly making a prodigious and laborious effort, prolific in solemn attempts, to capture the conventional reputation and standing of the "serious painter."
Besides the by no means useless discipline of this solemn
entertainment in the painting of religious themes, to which he
addressed his gifts in Italy and on his return from Italy, he won to
that repute of an Historical Painter then necessary to his worldly
promotion ; so that at twenty-eight, on the 24th of November 1731,
J he was nominated (agree] to the Academy. He had now but to
y paint an "historical picture" to take his seat as an Academician.
Now, this date tallies with the end of a three years' study in Italy, when and where, it is likely enough, many of these religious sub- jects were painted, which, it may be, to-day hang under other names, unknown and little suspected, perhaps as well for Boucher's fame. Of a truth, the threadbare religious subject made small appeal to him, as to his generation turning their backs upon the orthodoxies. They at least gave the professors of art, with dandruff on collar, standards whereby to judge him against the past. They served their turn. The sad part of the business is not that Boucher painted them, but that the very critics who hailed this work with frantic eulogies assailed the master-work of his hands when he turned his great gifts to its creation.
III.
ON the edge of his thirties, in the full vigour of early manhood, back in his beloved Paris, warmed by the atmos- phere of the city that is all the world to a Parisian, amongst friends, thrilled by the pleasures and gaiety of the jigging life about him, his fingers on the pulse of his age, having done his drudge-work and won his call to the Academy, he winked a shrewd eye at the gang of them and gave rein to the original genius that was in him.
He saw that however much his solemn make-believes, seen through the spectacles of the old Italian masters of a dead day,
22
c* >
might rouse the praise of bookish men or of solemn academicians or of the critic steeped in formal traditions or of the moralist- thinkers of the day, his public were not tumbling over each other to possess themselves of pictures from the old Testament, even / when painted in the methods of the latest fashion. Boucher had no itch to preach to his age. He was a part of that age, concerned as little with the deeds of the past as with the threat of the future. He was, like all except such as were morosely inarticulate in the France of his day, enamoured of the gaiety of life. And having won to his goal, with a shrug at the taste of that tradition that had elected him to the Academy and forced upon him infinite travail in achieving the fantastic foreign thing, he straightway turned his back upon the Old Book which he had been dipping into, with a wry mouth the while, and betook himself to worship in the temple where the Graces stood upon a flower-decked altar. The Italians had set their mistresses upon the altar of their pious faith to paint the Mother of God ; Boucher set a goddess upon his altar to be his mistress. The smug Madonna of the Italians gave place to a Frenchified Venus. In 1732, in his twenty-ninth year, he gave to i/ the world his Marriage of the Children of God with the Children of Men, where Venus^js the avowed object of his adoration. It caused a considerable stir; and added greatly to his reputation.
The Venus commanding arms from Vulcan for Mneas, the Birth of Adonis, and the Death of Adonis, of this same period, are strongly under the influence of Lemoyne still ; but we have "' already in the Venus piece that rosy touchUpon~the flesh of the female figures which is a surer sign-manual of Boucher's than his written name.
The Birth and the Death of Adonis, in the neglect that fell upon Boucher's art during and after the scuffle and wild confusion of the French Revolution, lost their pedigree, and for long hung side by side in Paris under the name of Lemoyne, in spite of the engravings after them, until, on being cleaned of the dark dirt of the years, in 1860, Boucher's initials were found upon the fallen pitcher in the Birth of Adonis, and the engravings by Aubert and Scotin, and a catalogue of the time, convinced the doubters.
Unfortunately the Salon was closed from 1704 to 1737 ; the works of Boucher of this period are by consequence difficult to place. We know that from henceforth, devoting himself to the service of Venus, he painted more than once the incident of her interview with Vulcan.
Boucher came to her service rid of all prentice essayings in craftsmanship ; he found in his subject a goddess to whom he could whole-heartedly devote great and rare powers of artistry. And, from the day he entered into her court, his sensitive genius and his pleasure-loving nature were a mirror in which he revealed to the world an exquisite appreciation of the beauty of woman. He J painted the flesh of her dainty body with a radiant delight and a rare sense of form such as France had never before seen or uttered. He remains to-day the first painter^of __the subtle, delicate and___
23
V
elusive thing that is femininity. He caught her allure and her fragrance and her charm as he caught the fragrance and charm of infants and flowers ; he set the statement of these exquisite things upon canvas as they have never been uttered ; and he achieved it with a will and a consummate skill which showed that his genius had found at last its true path for his wayfaring and adventure in life.
He took, without questioning, the subjects that were in the air, the dandified phrases and the sketchy classical allusions that were in men's mouths, and flung from superficial lips in the fashion of the day ; but he dug up no ancient ruins to find the foundations of ancient lore, nor burnt the midnight oil in deep research amongst ancient thought ; he employed conventional traditions to his own ends, giving expression through them to the ideas that held the eye of the times, breathing into the dead bones of the old gods and goddesses whom the solemn old Academicians were bringing forth still-born after infinite travail, the live spirit and light atmosphere of his own times which prevent one from mistaking them ever for anything but the statement of eighteenth-century France.
The verdict of his own generation was that Boucher was born sensitive to the spirit of his day, amiable, and pleasure-loving. And his life and career scarce refute the verdict. But these attributes are superficial gossip-talk of obvious things ; and alone had not enabled him in any way to make his wide reputation. For, make no mistake about it, Boucher is__one of the greatest decorative painters in all time. The whole of his life, from that early day of his childhood that his father put the pencil into his small hands, until that day when death filched it from his numb fingers, as he sat in the early hours of daylight at work upon his last masterpiece, he set himself with equal devotion to work and to play. And from the years when the eagerness of youth jigged in his blood, and the man, and the instincts of man, took possession of him, until the end, when death took him, he worked often twelve hours a day, unsoured, and without losing his blitheness of heart, or exhausting his vivid imagination, or belabouring his inventiveness, or weakening the desires of his gadding spirit. Out of his dogged toil he made the pleasant means to satisfy the gratification of his tastes ; the gratification of his tastes created in return the blithe subjects which are the foundation of his chief achievement. They fulfilled each other, his toil and his play—he made of his industry a vast pleasure, of his pleasure as vast an industry. Out of each the other was reborn ; recreating the one the other. A man's art is the revelation of his soul's appetites, the confession of what he has felt most intensely, set his heart upon most keenly. And Boucher, in uttering himself, uttered his age. He loved his day, and was content to love it. He came to his workmanship with the swift skill and hand of the masters ; and he played as he toiled, scarce knowing which was play and which toil, reckless of the eternities.
The story of his love affairs makes no romantic reading — commonplace ecstasies with nameless frail women, wherein neither
24
PASTOKAL SUBJECT (LOUVR1-:)
the man's h< atever his i owed her fall i
However Boucher snati get himsel* to un
taken wit!. Paris i lu-r, c
1733, at the church of Boucher stepping on minutes again to a-
into the fog of
The young couple v •» >M
rue Saint-Thomas du-U .. Longuevilles. Here
There is, in a private t Madame Boucher, by the ' Salon which we are to set «
blonde beauty with blue ey '.t>t/< a»,
roguish smile. She wears <> daintily befrilled in the mode ; • fingers that peep out of mitten* was 45, Roslin painted the datru* . man of growls, confesses to bs celebrated beauty is said to h*-/f; »*«*fc withal, which was of greatest tteir-~ goddesses — the indiscretion is r> find Boucher, on consulting :• subjects he shall choose few A * commissioned to design in i» receiving the advice • " ft* Fontaine, tind above aii ik;>.
These Psyche pieces run .
Boucher, from all gossip a«.t< more than a little profanely t\: Madame Boucher only; but t^ and strife was avoided. It »
i: her, that her lover, (!^ Ambassador to France, illustrations for the fairy i. though they be, si
Faithful or frail of her century, hers- several of the
icher is known to us • ;n marriage did n >f his art. TV nated for the A
PASTORAL SUB.I1
the man's head nor heart were once greatly touched. But, whatever his frailties, it stands to his repute that no woman ever owed her fall to him. His weaknesses were the most human of all.
However, hard as he lived and played or rioted or worked, Boucher snatched a few moments from this his thirtieth year to get himself married. Marriage, it is true, did not turn Boucher to unmitigated faithfulness. His thirty years of manhood were taken with the charms of the pretty little seventeen-year-old Parisian, Marie-Jeanne Buseau ; and he married her for love of her, certainly not for great possessions, on the 21st of April in 1733, at the church of Saint-Roch — worthy old father Nicolas Boucher stepping out of the mists of oblivion for a few brief minutes again to sign the register, and forthwith stepping back into the fog of eternal silence again.
The young couple settled down, for the next ten years, in the rue Saint-Thomas-du- Louvre, near the hotel (town-house) of the Longuevilles. Here Boucher, then, lived his thirties.
There is, in a private collection at Bordeaux, a pastel portrait of Madame Boucher, by the famous Latour — it was shown at the Salon which we are to see opening its doors again in 1737. A blonde beauty with blue eyes of an infinite tenderness, and a roguish smile. She wears a white satin dress, cut low, her neck daintily befrilled in the mode ; she plays with a closed fan in pretty fingers that peep out of mittens of white lace. In 1761, when she was 45, Roslin painted the dainty creature whom even Diderot, the man of growls, confesses to be " always beautiful ; " indeed the celebrated beauty is said to have been dowered with a dainty form withal, which was of greatest service to Boucher in his painting of goddesses — the indiscretion is more than gossip's whisper, for we find Boucher, on consulting his friend Bachaumont as to what subjects he shall choose for a series of pictures which he is commissioned to design in illustration of the fable of Psyche, receiving the advice : " Read and read again the Psyche of La Fontaine, and above all things study well Madame Boucher."
These Psyche pieces run much to the " altogether."
Boucher, from all gossip account — and the tattling tongue wagged more than a little profanely those days — did not for long study Madame Boucher only ; but the lady consoled herself airily enough, and strife was avoided. It was an excuse for seeing her and being with her, that her lover, the Count de Tessin, Sweden's Ambassador to France, commissioned Boucher to do the illustrations for the fairy tale of Acajou, which, dull and insipid / though they be, show the \nfiii&Ac^oT^^teau^ --
Faithful or frail, Boucher 's~pretty wife, like most artists' wives of her century, herself worked in his studio, copying in miniature several of the master's pictures ; indeed the signature of Jeanne Boucher is known to us upon a fine etching.
Even marriage did not stay Boucher's hand from the feverish pursuit of his art. Two years were flown by since he had been nominated for the Academy ; it was now time to present the
27
necessary " historic painting " before taking his seat. He decided, his marriage over, to take in this his thirtieth year the title of Academician with Rinaldo and A rmida, now at the Louvre. This
V was just the " historic painter " style for a passport into the doors of the Academy. Diderot praised it. It was exactly this part of his necessities for Academic favour which, once secure in his seat, Boucher forthwith flung into his discarded bag of tricks and tossed out of his studio ; and which, being forthwith vanished from his achievement, Diderot ever afterwards so bitterly craved and regretted. But even here the real Boucher stands revealed — cupids peep round draperies and curtains which have been filched from the Italians, and which drape the pompous would-be Ionic columns; nor did this blonde coquettish French Armida know any ancient tongue.
The Sleeping Venus (engraved by Aubert in 1735) is of this time, and redolent still of Lemoyne.
His election to the Academy, and the noising abroad of the enthusiastic praise poured forth upon theRinaldo and Armida, brought Boucher's name prominently before the King ; for, immediately in the following year, he received his first order from the Court whose painter he was to become. He was commanded to replace with gayer decorations the paintings in the chamber of the Queen, which had become blackened and made the apartment ysombre and sad. Boucher set to work upon the four pretty
\ygrisailles, Charity, Abundance, Fidelity and Prudence, still to be seen.
With his tendency ever to cull the flowers only from everything
that came into his vision, his quickness to see the general pleasing
effect of a thing, and his vivid trick of evolving forms and seizing
them flying, Boucher was the destined painter of a Court which
/ had begun to find even the art of Oppenord " too severe " ! and was adopting the rococo of Meissonnier.
But neither the honours of the Academy nor the favour of the King kept Boucher from the booksellers' shops. At the end of 1734 appeared his illustrations to the (Euvres de Moliere, of which his thirty three plates, engraved by Laurent Cars, are excellent. Boucher dealt with Moliere as freely as with the gods and goddesses of ancient mythology — everything is in the latest fashion, furniture, decoration, the people that tread the stage. The spirit is of his own graceful day, the pomp of Moliere's years is flown. The elegance of Watteau is over all — indeed, some of the plates such as Le Medecin malgre Lui are very Watteau.
IV.
\yCHARDiN, with superb gifts of the first rank, and others witlTTmh, were about this time bringing— the~ Homely into the vogue^__Aveline's engraving of La Belle Cuisiniere published a year or two after Boucher is firmly seated in the Academy, proves Boucher's essaying to be in the fashion. Such work showed him but moderately equipped for the detailed
28
precision and the accuracy of realism, wedded to the Dutch sense of interior atmosphere, requisite for painting still-life. Boucher always lacked a grip upon " character " — he did not concern himself with it. But even here we have that right sense of arrangement, o grouping, that made for style. Yet, already, the pots and pans take on a certain charm that was to develop the sneer about his very broomsticks looking as though they called for pompons and ribbons. He is more concerned with the accident of kissing in a kitchen than \s with the kitchen's normal habit. He cannot go into the scullery without dragging Venus in by the skirts. He has not the heart to show a kitchen-wench as honest house-drudge. He must give her /'' the romance q£jan intrigue. Its pendant, La Bette F///agw«£ was engraved by Svelme"uTT73Sr~
Boucher, Royal Academician, put on no airs ; he took up the graver of the copyist again for a Book of s/w^Vs after Bloemaert issued in the June of 1735. However, these were but busy asides ; he was not neglecting his easel. The Academy decided upon a display to test the achievement of its own members on the occasion of an election to its staff ; and ordered that, on Saturday the 2nd of July of this 1735, each of the candidates should show a work done or finished during the year. Boucher did not fail to thrust himself into the ranks of the competitors, sending four little pictures of the Four Seasons, represented by little fauns and infants ; and was elected, with Carle Van Loo and Natoire, to be deputy professor.
Boucher's brain was very productive. He designed the four J celebrated satiric vignettes of Religion and the Virtues over views ** of Paris for the Breviaire de Paris of 1736 He was working all the while steadily for the booksellers ; one work succeeds another with facile rapidity.
But there appeared about this time two prints, L' 'Amour Moissonntur (Love, the Harvester) and L' Amour Oiseleur (Love, the Bird-snarer), finely engraved by Lepicie, from two paintings by Boucher in the Derbois collection, which mark an epoch in his career. Five years later (1741) Fessard engraved the other two, " L1 Amour Vendangeur" (Love, the Vintager), and V Amour Nageur " (Love, the Swimmer).
This was the first flight of that host of Cupids which flew into ^ Boucher's studio and frolicked onto his canvases, and joined the following of Venus — peeping over clouds, over waves, round curtains ; being brought forth, said a spiteful One of the Pen, with an abundance worthy of a " bastard Rubens."
Huquier published no less than six books of them : Livres de groupes d' enfants as The Elements, The Seasons, Genies des Arts. The Four Elements engraved by Daulle and dedicated to Count de Bruhl, are probably of this period. It must be confessed that, save perhaps for Lepicie, his engravers, fine as some of them i were, often did scant justice to Boucher's painting of infants — for -^ he painted their rounded limbs, their jolly fat gracefulness, their lusty life, their beautiful awkwardnesses, their vivacity, their naive J
29
^surprise of life, their infant character, as they had never been J painted before, and have never been painted since.
Huquier also publishes in this thirty-third year of the artist, an
J engraving of an upright Pastoral and of a Shepherd and Shepherdess
conversing, with animals, and in a pleasant landscape, from
paintings by Boucher, which were his first essays in the style that
' he created.
He met at Huquier's, and grew intimate with, I^eissonnier, the creator ofJRfogoco, who in May of this year, 1736, stood godfather to Boucher^Tfirstborn son.
Before the year was out, appeared his Cries of Paris, engraved by Ravenet and Le Bas. These " studies taken from the low classes," like his homely pieces of the life of the people, betray Boucher's limitations in the presence of realism. He here essayed to utter the truth of the everyday things that he saw ; but he could not see the deeper significances of life— as always, his brush could not refrain from making elegance and dandified manners peep out from behind the milkmaid's skirts or the coal-heaver's fustian. His delicate and sensitive nose flinched from the gutter. Of the sordid and miserable accent of the life of the people, the weari- ness of the toil of the drudges, the dignity of their strenuous labour, he refused to know or hear a syllable or see a hint. From the tragic he turned away to the dance of life, to the flowers and the dandified make-believes. He looked down at the " low class " from his high window ; and he drew the daintier morsels amongst them whilst they were young or picturesque, as he fancied they ought to be, whDse musical street-cries came floating up to him on the blithe air of a fine morning.
But there was about to chance a more fateful thing for Boucher's future in this same 33rd year of his life.
A series of prints were announced in illustration of Don Quixote by several artists. Boucher led off with Sancho pursued by the servants of the Duke. This design of Boucher's was to have far-reaching results.
The Gobelins tapestry-factories had been occupied with Don Quixote since 1723 ; and the subject had rapidly become popular.
Boucher henceforth was to play an important part in the history of the world-famed French tapestry-looms.
Oudry had been called by letters patent of the 23rd of March, 1734, after the dismissal of Antoine M£ron for embezzlement, to conduct the Beauvais factories, together with Bernier, an alderman of Paris, on a lease of twenty years. Oudry at once set himself to get good copyists at work upon the looms, and to furnish them with good designs, of which he composed a number himself. He now called Boucher to his aid, whose original and fresh style, colour, and arrangements, greatly increased the reputation and the product of the famous looms. Amongst the several large paint- ings that he now produced with astounding rapidity, was the celebrated Bacchus and Ariadne at the Royal Palace of Turin. He was also soon designing pieces of furniture and screens.
30
•
Before the by Ravenet and L
classes," like his h Boucher's linnt.a:i<« to utter the truth ;•» not see the deeper not refrain from n fcom behind the His delicate AM «-
-o
in a pk:>>
• : ••
his O;
ir st
hj'U- K
;>f.\v».T.>
--«d of?
ouce
if purutt
* was to have
upicxi with Don
:nt, to
with
•'•; and .<
31
These designs of Boucher's (whether they contain the decorative balance of a great painter that is subtly felt in fine pictorial design, or whether with the central motive vignetted off into fantastic framing of palms, draperies, and the like, more frankly decorative in intention) mark a great gulf between the taste and style of the sixteen and seventeen hundreds. Louis Quatorze caused his cam- paigns to be represented; all must be in the heroic strain — for Louis Quinze it was the Chase and Love and Pleasant Prospects. Boucher painted for this series the Tiger Hunt (engraved by Flippart), and the Crocodile Hunt (engraved by Moles), both for the " Little Apartments " that the King had had constructed in the roof of the Palace in which to rest sometimes after his return from hunting — those " Little Apartments " that were to become the scene of his orgies and intrigues, his favourite abiding place.
In 1737, Boucher probably painted for the Beauvais looms the / \/ Fountain of Love and La Bonne A venture, up_right pastorals that/ foreshadow his well-known pastoraL style to come/_I?ut they \ do not seem to have gone to the Beauvais factories ; and not until J later to have served as the models at Gobelins.
Huquier published at this time the Jeux d'enfants, which contained amongst other charming designs the Balan$oire, some infants on a see-saw, that look as if they had been intended for tapestry also.
It was in the midst of these triumphs that news came to Boucher which gave him a profound shock. His old master Lemoyne, who had begun the ceilings at Versailles the previous year, broke down from incessant toil and prodigious overwork in order to fulfil engagements, and took his life with his own hands in June 1737.
The 7th of July saw three pictures by Boucher " faites pour le Roy ; " and at the Salon which opened its doors on the I8th of August for the first time since Boucher's infancy, he had four pictures of rural subjects, and " two ovals, the Four Seasons, for the King."
This Salon of 1737 was an artistic event for all France, and a s new thing for Boucher and his generation. Old Rigaud, near upon eighty, shuffling through the great rooms at the Louvre, might well blink at the distance travelled by French Art since the beginning of the century, as he held forth, we may be sure not without irony, to the younger Academicians concerning the last Salon of 1704, thirty-three years gone by. Blink he well might ; for the Art he knew was vanished — he stood lost, stammering, bewildered in a new world. A new generation had been born, grown up, and was in possession. Taste was wholly changed. The grand manner, the severe mock-heroics, and the solemn pomposity that had built up the majesty of the France of Louis Quatorze were flown ; and the Agreeable Elegance and the Pleasant Make- Believe of Louis Quinze reigned in their stead. The imposing reception-room had given place to the dainty boudour. Light chatter, gay banter, quick wit, and the airy repartee had usurped the stilted splendours of a consequential age. France, fatigued with the strain of the eternal pose of the grand manner, freely unbent and sought relaxation in
33
J
an elaborate etiquette of joyousness and amusement. The making of love was more pleasant pastime than the making of war. J Gallantry and gaiety became the supreme objects for which to live — for which to die.
The grand manner and mock-heroic splendour of Louis Quatorze had not exactly made for truth in art — its severities had been the splendid lie of a stately strut. Literature and the arts had echoed the splendour of the lie ; and with such solemnity and pomp as to give the lie something of majestic utterance. The man of the world, the hero, the very rogues (and the one had more than a little of the other) had lived in a stiffly brocaded, heavily bewigged, and ponderous etiquette. Speech wore formal tinsel. A sigh was calculated as though gowned in broideries. An oath a measured masterpiece. So the real blithe France had disguised herself in heavy stuffs — putting on the whalebone busks and hoops of a stilted dignity, posing in an atmosphere of the sublime. Europe, by consequence, vied in a make-believe majesty that became an artistic reality. Europe essayed to believe herself a gorgeous prig — and became one. Nay; did not France's ranked battalions, going into battle, almost quarrel with the enemy that he did not fire first, France saluting ? It was all very wonderful.
Louis Quatorze, nicknamed " the great," being gone — France threw off her stiff whalebone corsets of pomposity from her -r breathed freely again, and in the intoxication of being able to smile gracefully and laugh without loss of dignity and be prettily blithe and gay again, came near to flinging most of the rest of her apparel from her, and walking naked. As it was, she showed more than a demure ankle. But at least she became human— if naughtily human. Born in the pompous cradle of the grand siecle of Louis Quatorze, the young bloods of Louis Quinze could not wholly rid themselves of the grand manner ; but they put prigdom from them to the best of their will, and strutted down their picturesque century breathing an air of easy elegance, set up a dainty pagan goddess for their worship, and became amiable and gracious — with charm as their aim, and love of frail women as the constant pursuit of their inconstant minds. ... At once the stage saw the scene-shifters put on a new drama ; the poets stained their fingers with rose-coloured inks ; verse got a-tripping to a livelier measure ; prose was uttered to a lighter rhythm ; painting and sculpture blossoms into blitheness ; the bloods burst into jocund frivolous song ; the house and its furnish- ments showed more cosy splendours and took on more gracious lines. France became a coquette, seeking only pretty flower- strewn ways to tread, and giving herself to dalliance — her patch- box and her powder-puff and her fan a serious part of her unseriousness — her manhood's aim now to be a pretty fellow. Vive le joli !
34
V.
BOUCHER has arrived. He is in the vogue. The Court has taken him up. Also the collectors. He has in the three years from his election to the Academy to the opening of his first Salon, created~~a new alncL Of iglirat" StyleT - - the .pastoral, the cupid-piejces^the Venus-pieces. He has created also a new style in tapestry.
Boucher's true province was that of a great decorative-painter ; and he has come into his kingdom. We should judge his pictures as though they stood where he designed that they should hang — as part of a general scheme in a room — in the frames that he designed — and in their right surroundings. But just as the Italian masterpieces, torn from the churches for which they were painted, and placed in a modern dining-room, are but a precious curiosity, wholly out of place and all awry and uncomfortable, so Boucher also, though he suffers less thereby, does not show to fullest advantage in the raucous huddle of a public gallery. In the Hotel de Soubise, once the stately town mansion of the Prince of Soubise, now the Musee des Archives Nationales, you may at least see a few works as Boucher designed and framed and placed them.
This palace the Prince of Soubise had had built on the site of the old palace of the Hotel de Guise, a building raised to be worthy of his fortune and his rank, by Lemaire. Brunetti and Bofrand having the care of the interior decorations, commissioned the artists, Boucher, Parrocel, Natoire, Tremolieres, Carle Van Loo and Restout, to paint important pieces for its adornment. Of the seven straightway painted by Boucher, as was his prompt energetic habit — for the larger the canvases required and the larger the number of them the more rapidly his eager wits bent themselves to the completing of them, five are still in position.
The superb The Three Graces putting Love in Chains, shown at the Salon of 1738, has unfortunately gone black— a rare mishap in Boucher's work — but, luckily, the Morny collection had a replica painted by Boucher the following year. The Education of Love by Mercury, an over-door, has something of academic coldness in it, suffers from Boucher's habitual lack of "character" in
male. The Pastoral of the Bird-snarer and the Shepherdess, called La Cage, is a very beautiful over-door, in which Bird-snarer and Shepherdess have descended out of the Royal Palaces to play their / parts. The Pastoral of the Shepherd placing a rose in the powdered-/ hair of a Shepherdess by the foot of a fountain, has already great decorative qualities that place Boucher in the front rank of his age. The Venus s'appuyant sur Cupidon pour entrer au bain en descendant de son char, shown at the Salon of 1738, is a beautiful canvas which displays Boucher's art rid of all influences. The Aurora and Cephalus shown at the Salon of 1739, of which the Museum at Nancy has a variant, was found in an attic at the Soubise awaiting its placing in position.
Boucher seems, about this time, to have played with pastel, probably turned to it through his intimate friendship with La Tour, who showed, in this year of 1737, his portrait of Madame Boucher.
But none of these essayings in other methods ever drew him from his painting — he showed at the Salon of 1739 a picture 14 feet by 10 feet high of Psyche led by Zephyr into the Palace of Love, and shortly afterwards we find Parizean engraving Psyche refusing divine honours, designed for the looms at Beauvais. These large pictures for the Beauvais tapestries developed still further . Boucher's innate sense of landscape, evident in his earliest work. His figures never over-ride his landscape ; his landscape never overpowers his figures. The poise is exact and just. That he himself laid great stress upon landscape we see from his earnest and repeated counsels to his pupils, and in his constant deploring of the lack of the art in France. It is true that in landscape ^/ Boucher did not wholly get away from convention ; but he came astoundingly nearer to nature than was the habit of his time. Indeed, for one frankly unconcerned with the rude realities of life, and given over to glossing her ruder moods, his landscape is marvellously true.
In 1740 he sent to the Salon his Landscape with a Mill. Landscapes, dated 1741 and 1745, prove his serious attitude to the subject. In 1741 his Forest and The Mill were hung at the Salon, at the display of which in 1742 appeared the Hamlet of Isse, an important canvas, which was afterwards to be enlarged for the Opera. He published his Landscapes designed after nature, engraved by Basan and Chedel ; Views in the neighbourhood of Beauvais in 1744, and Views in the neighbourhood of Charenton in 1747, engraved by Le Bas — and Views of Fronville engraved by W. Ryland.
Yet, even in the presence of nature, seeking to set down the thing before him, his eyes ever select that which is of decorative effect. He sees only what he has come to see. He puts his mood into nature ; does not seek to steal nature's mood from her and make her reveal herself to him.
The vogue for the lacquers and porcelain of China was in full career ; and Boucher was never deaf to a vogue. For the cata- logue of one of the principal merchants of Oriental wares, one Gersaint, a personal friend, Boucher designed a frontispiece, and in 1740 a pretty A la Pagoda. To get playing with a thing, for Boucher, easily meant launching himself into full career upon it. So we find in this same year, Huquier publishing a Book of Six Plates, the Five Senses, representing divers Chinese pastimes, designed by F. Boucher. These were the beginning of the tedious chinoiseries on which he frittered away some of his precious years and wasted great gifts. He designed several more books which, unfortunately, were "favourably received by the public." At the Salon of 1742 he showed eight Sketches of Chinese subjects, to be carried out at Beauvais in silk and wool — the well-known pictures now at
36
-
1 a pictr of
... . dtrsjgucU for the fooms :.r /.is. 1
the Bo.u.\a»s tapertneh Je\ eloped still nate seiiflc of landscape, evident in his ear never over ride his landscape ; his landscape never . ttgures. The purav w exact and just. Thar he ^» cat it res s upon Utr.dnc»pe we sec from his • f <.>>uns^t& to his pupils, and in his constant d«. • th<- urt HJ l-raiice It is true that in lai.
H) ifet aw.iy from convention ; but be < .' r« T.I n»turt than was the habit '>> his time.
uncofiocttttcd \\ith the «ude it j lines of • glossing h«;i ruder nnxwis. ins i.u'uiscape is
t /•<'•,: tr? she Sak'rt his I.<ttt4*:4f><f a-»/Jt a Mill
!/4l afK' 174^. pr(>*, f hts xi. ••"••. us -ir»;!u'.!t' •< :*( his /-or«/ .uvj /**. Mi/r uer« hung ,»
ii»pi;Hy ot \viuch If- i / -M ?«p'-U. ."-^O U,»
pt>rt ant canvas, which va« afu:j--vjt -.-s to n<r ,:i...} ;>. He published his Latdttttp&'dtt'giud after ».n: .
Basan and Chcdel ; ''w^i >j« /#<• xeijfiibcmt twvd o) 744, and l-'ftsc-s <;? Utt KfithucurnMd i<f Ckurenton in
r Fipmmlt engraved hy
4-ft .-ii-fv-tf <-f nature, seeking to set down the .hira, • eyes ever select that which is of decorative fci'it on' .v hat he has cojtif to see. He puts h
seek to 3tea! nature's mood from bo and
"h». ••at'oncrs -Li<.-\ p«'i'c».-.!«H« c'- *a» tie-.t . ;
: jVK<;\t' f-.-n-''iT.^nis -if
westy /4 Ls tegcd*. To :i thing,
.rtfan1 : ! "• (Kit . . . .
Besar^on. Three other chinoiseries as models for tapestries are also known.
Midst this outpouring of chinoiseries, book illustrations, tapestry designs, landscapes, models for the gilt bronze decorations of porcelain vases, sketches for sculptures, the designing of elaborate and beautiful frames for his pictures, schemes for the arrangement of the rooms in which they hung, and the like manifold activities, he managed to paint a masterpiece, the great picture of the goddess at whose shrine he laid the best offerings of his versatile genius — the Birth of Venus, sometimes called Triumph of ^ Galatea" which the Swedish Ambassador, our worthy wife-hunter Count de Tessin, bought for 1000 livres at the Salon of 1740, and which now hangs at Stockholm.
The removal of the Cabinet des Medailles, from Versailles to Paris, brought work for the King's Library to the artists, Boucher having to paint four " panels " — Epic Poetry signed and dated 1741 ; History, 1742 ; and the Eloquence and Astromony shown at the Salon of 1746 before being set up in place. Boucher seems to have had to dun the Director- General of Buildings pretty hard for the money.
It was on the 15th of the April of this year, 1742, that, on the vacancy caused by the death of Martin, the Royal favour was marked by the grant of a pension of 400 livres to Boucher, with a promise of early favours to follow. Two years afterwards this pension was increased to 600 livres (dollars).
To the Salon of 1742 Boucher sent the exquisite canvas of Diana leaving the bath with one of her companions, now at the Louvre, and engraved by Hedouin, (not to be mistaken for the later, Diana Returning from the Chase engraved by Duflos) — a Leda, probably the picture at Stockholm — a Landscape from the Fable of Frere Luce — a Landscape in the neighbourhood of Beauvais — the eight Chinoiseries from the Beauvais looms now at Besan9on— and, as we have seen, the landscape the Hamlet of Isse.
This Hamlet of Isse was to be enlarged for the Opera. French armies might war and be broken in war ; Paris had to have her Opera — and Boucher was a Parisian of Parisians. This Hameau d'lsse shows him to be on the staff of the Opera as " decorator," to which office he did not disdain to return in after years when First Painter to the King. Boucher took his place at the Opera until July 1748, presiding in 1743 over the scenery and costumes of the ballet Indes galantes, in 1746 over those of of Persee and in the ballet A thys wherein he had a huge success with his " fountains and jets of water and lighting and waterfalls, his columns and his rocks."
To this year belongs his painting of the Vie champetre engraved by Elise L6picie ; and the Country Fair engraved by Cochin.
39
VI.
BOUCHER is forty. He has entered into his kingdom. The ten years of his forties are to be one long triumph. He produces masterpiece after masterpiece. His art has caught the taste of the day. He is at the height of his powers. He had done great things before ; he was to do many afterwards ; but during these ten years he is to send forth vivid and glowing creations of sustained power and originality.
We have a picture of him as he was, in the flesh, at this time. The pastel portrait of him at the Louvre by Lundberg (that artist's election-piece on taking his seat at the Academy in this year), shows us a gay, somewhat dissipated deviUmay-care dandy of a man, handsomely dressed, smiling out of his careless day.
In his art, in the gossip of him, there is a strange aloofness of the man from the high dramatic incidents of his day. His art breathes the spirit of the butterfly social life of the time only.
Old Cardinal Fleary dead, the French armies flung back from Austria — what remained of them — it was in this, our Boucher's fortieth year, that Louis Quinze, acting upon an impulse to be like his great-grandfather the Grand Monarque, became King by act. But he had small genius for the business. He was the plaything of his ministers, a set of vile, quarrelling, jealous and greedy rogues, He fell into the habit, henceforth, of ruling France from behind petticoats. Two sisters of the noble and historic house of de Nesle had yielded to his gadding desires, and it is whispered a third also. A fourth, the youngest, now became his mistress — and in this year he created her Duchess of Chateauroux. Shamed by the defeat of Dettingen, she roused him to martial ambition ; and he placed himself at the head of the army — strutted it through Flanders as conqueror, when the small-pox fell upon him at Italy, and sent Chateauroux packing. He returned to France on his recovery, to be hailed as a Caesar, and christened " Well-Beloved " by the populace of Paris, a few weeks before Chateauroux, reconciled to him, suddenly died.
So far, all this for Boucher, as for us, was little but scandal. Yet out of the whirl of things his fortune was ripening. Of the disastrous defeats at Prague and Dettingen we find no hint in Boucher's work of this year, but rather the indifference of the gay world of Paris to all else but Venus and jollity.
He moves into new and better quarters in the rue de Grenelle- Saint-Honore, opposite to the rue des Deux-Ecus, where he lived for the next five years (until 1749). But his eyes were now steadily fixed upon a studio and apartments at the old Palace of the Louvre — though, spite of hard intriguing by his friends to get them for him, he failed in his attempts for some time, making in fact another move before he was enabled to reach his longed-for goal.
At the Salon of this year, he showed his upright oval canvas of The Birth of Venus, and its pendant Venus leaving the Bath ; the Muse Clio, engraved by Daulle, and its pendant Muse Melpomene ;
40
/ -ll
and three Landscapes. In this same year he painted and signed y- the beautiful Pastoral at the Louvre known as The Sleeping Shepherdess; and the other two famous Pastorals at the Louvre, The Nest and The Shepherd and Shepherdesses, are of this period. All three belong to his finest achievement.
Of the many paintings of Venus that were sent forth from Boucher's studio in these, his great years, it is not easy to give the entire list, for his prolific hand and brain were producing abundant and beautiful canvases of the first importance in her honour.
The growing taste amongst collectors for the homely realistic Art of the Dutch masters probably drew Boucher to their exquisite paintings of interiors ; and, having signed the Marriage of Love and Psyche in 1744, he painted the Dejeuner which L6picie's engraving has made well known, showing a family at breakfast in a well-to-do French room of the period. This was followed by a series of illustrations to La Fontaine, by the Magnifique, and by the Calandrier des Viellards and the Amorous Courtesan, both engraved by Larmessin.
The Femme Couchee, painted in 1745, shows the naughty character of Boucher's famous model, " la petite Morphil," far from treated with reticence — this girl, Murphy, of Irish extraction, was to figure in the life of the King and of the Pompadour in the years close at hand ; and to become the jest of the town and the subject of ribald songs. She was sister to the Academy model, to whose reversion she was entitled.
To the Salon of this same year, Boucher sent " several studies under the same number." This was a new thing. Artists until this time had never attached any value to studies and sketches for their works. Success was instant and loud.
Towards the end of 1745, the Swedish ambassador, Count de Tessin, about to leave Paris, commissioned him to paint four pictures, to be finished by the March following — Morning, Mid-day, Evening and Night. Of these the Morning, painted in the following year (1746), and now at Stockholm where it is known as The Toilet (engraved by Gaillard as La Marchande de Modes) alone seems to have been carried out according to the scheme written down by the ambassador's secretary. The three other pictures were modified by Boucher, for we at least have the engravings by Petit after pictures of three half-lengths of women, entitled Le Matin, Le Midi, and Le Soir, of more or less similar ideas. We learn from the correspondence that it was Boucher's habit to be paid on delivery of each picture, and that for each of the original paintings for de Tessin he was to receive 600 livres.
In a document of the Director General of Buildings of the year 1745 is a " List of the Best Painters," inwjjrjchBguch^r is marked down for distinction ..a&--''.aa_hi8toric_painteCK living in the rue de Grenelle-Saint-Honor6, opposite the rue des Deux-Ecus, pupil of Lemoyne, excelling also in landscape, grotesques and ornaments in the manner of Watteau ; and equally skilled in painting flowers, fruit, animals, architecture, and subjects of gallantry and fashion."
41
Yet consider awhile, wonderfully as his art in its subtle way suggests the spirit of his times, how strangely aloof it is from the vast doings of these days — as aloof from high politics as from the solemn realities. Think how in this year of 1745 France is racked with significances !
Boucher hears — cannot surely help but hear — a strange, a mighty scandal, that is to mean vast things to all France, and not least of all to Boucher.
A young bride has been for some time the talk of the rich merchant class of Paris — that class that has steadily come to possess near upon all France. A remarkable young woman, her beauty, her lively wit, her brilliant talents are the gossip of the town. Her very name is charming — Madame Lenormant d'Etioles — trips like song of nightingale upon the tongue. Who was she ? Whence comes she ? Well ; we have been at her birth — it is our once Jeanne Poisson — Jane Fish. How the ribald songs of the Paris gutters, set to it by spiteful witty old Maurepas, are going to thrash that jest of Jane Fish to ribands ! Daughter of a scandalous financial fellow who had fingered the commissariat monies in an ugly fashion to his own ends — who had indeed been banished for the nasty business, and was in truth in banishment when Jane popped into the world. At least he was husband to Jane's mother, herself no better than she should be — and the wags winked knowingly, jerking a thumb at the dandified fine fellow, Monsieur Lenormant de Tournehem, who had been the favoured one during the enforced travels of Monsieur Poisson. As a fact Lenormant de Tournehem takes astounding interest in the child, gives her good schooling, pays handsomely for the teaching of all the accomplishments by the greatest artists of the day from the Opera and the First Places. Poisson, the father, being returned, takes Lenormant de Tournehem to his arms. And Lenormant de Tournehem ends the pretty business by lifting Jane into the moneyed aristocracy and making his nephew, Lenormant d'Etioles, marry the girl, giving a half of his wealth to the couple, and promise of the remainder. Consequential little Lenormant d'Etioles is lord of Etioles and other seignories. "Uncle" Lenormant de Tournehem even provides for the young couple handsome town- house and country-seat on the grand scale, where Madame gathers about her the most brilliant circle of wits and artists of the day, gay Boucher amongst the number, and biting Voltaire, and the rest. But Madame has had since childhood an absorbing silent ambition — she now confides it to her cynical mother and to " uncle " Lenormant de Tournehem. She has set her dogged will, learnt all her accomplishments, trained herself with elaborate cold- blooded cunning, to seduce the King of France. She is almost virtuous about it — swears she will wrong her d'Etioles for no one but the King. After much intriguing, she catches the wandering eye of the King ; at a great masked ball, the beauty who has plagued and interested the King all evening, unmasks at the King's bidding- drops a handkerchief — Louis Quinze picks it up ; so that the whole
42
I
- - A young IB t*«o
ar — a stran I Fram
beauty, he>- lively wit htr the to-vn. H«s«' v«T)l nam
wan s bJrth --
of a
the talk of the rich that has steadily A remarkable young \ her
« talents are the * dbtrfniog— Madame Le
.Kg;i>t: upon the t< .sice ccjpnev «h« " Well ; we have mce Jt>av>n« P*.»-«son— ~ Jane FJsh. K •;s fjuMeiwL *« to it by spiteful witty old a*b 'that jfst of Jane Fi«h to ribaivis ! D. •ioi»n»:-..'5 |wi'.4»w who had fingered tbt: com mi 5. ft»fc««w V«> b'ts. own rods -~wko iMd indeed been f:"tva**.v avict wa* in truth in bani' -'«*< •*•« '••'«!. At least :u> ^a- hus!'
an
OH.*'
money i.^ tnarry tht gi p»v>mi^ 'vf the is iord -.>» Hvi'j
house
her
rest. But Mad**! ambkion — she m>w Lenormant de T<>
her ;\
?:ht"-
,^ ;«t «.h« J#>t'f!f:e«.: i nr *r;» ^J ;sttn the .- :*.-.:.s.w;,.- Pv-vimnn. As a is.- ••:.- '».*;.-;;• '•' -v- 1 !;• thi-' • •2st>v«eiV in*' '.' " teaching o ui'4> «># H»tf day froiv .; ivs*hv-% f «.''•'•.,. J"f :iis And by lifting Jane into the
;•:?:*; L*--
.
wn- !iers day,
: ing
•
Court murmurs: "The handkerchief has been thrown." A bitter Court intrigue is at once a-gog. But a few nights after, Madame Lenormant d'Etioles is stealthily smuggled into the private apartments of the King. Rumour speaks. She comes again ; but ends the night with sudden feigned terror — her husband has missed her, traced her — she dare not go back to certain death. The King is moved and lets her hide herself from henceforth in the secret apartments ; to the beautiful creature, who thus so dramatically interests his bored day, he promises his protection, a lodging, her husband's banishment, and early acknowledgment of the high honour of titular and accepted mistress — before the whole Court in Easter week, says the pious Great One. Which pious decision was only put off by the sudden need for Louis to join the army and win the victory of Fontenoy, whence he returns to Paris a conqueror. On the 14th of September, Madame d'Etioles is presented to the Court, proceeds to the Queen's apartments to pay her devoirs, and in her twenty-third year is raised to the great aristocracy of France as Marquise de Pompadour.
Boucher has now the Strong Friend at Court ; gets soon another, for the Pompadour seizes an early chance to employ the King's favour to appoint " uncle " Lenormant de Tournehem to be Director General of Buildings, which office covered amongst many things the control of the royal art treasures.
That the Pompadour's influence affected Boucher's position at Court during the next two or three years it would be ridiculous to deny ; but, as a fact, it is utterly ridiculous to attribute Boucher's position at Court to the friendship of the Pompadour, far less his rise in his art. He was painting for the Queen's Apartments at thirty-one, when Jane Poisson was a school-girl of twelve in a convent. Boucher was a prominent personality in the art-world before he met Lenormant de Tournehem, who introduced him into Madame d'Etioles' circle — and few men entered that artistic circle who were not already men of position, Carle Van Loo, Cochin, Pigalle and the like. Madame d'Etioles had loved to surround herself with the artists and the wits and the philosophic set — but she preferred entities whose names carried weight. And we must remember that her position was for two or three years far from secure — indeed was never secure — she had to win it day by day. The religious set about the Queen were shocked — that the King should choose as mistress one who was a friend of freethinkers like Voltaire, and not from his own church ! The nobility were shocked — that the King should stoop to choose a mistress from any class but their own, the old noblesse of France! The Royal Family sulked at the humiliation — "the choice of one so low-born detracts from the honour of the King's adultery ! " It is a strange France.
Boucher painted the two remaining pictures for the Cabinet des Medailles in 1746, Astronomy and Eloquence, also "four pictures" for the grand Cabinet of the Dauphin, which were "placed
45
elsewhere " ! His Toilet of Venus (engraved by Duflos) now at Stockholm, was his contribution to his goddess.
To the Salon of 1747 he sent his These allegorique, dedicated to the Dauphin ; and two Pastorals, one of which, Pensent-ils aux raisins ? (engraved by Le Bas), is to-day at Stockholm. This year also saw his two pictures painted for the bedroom of the King at the chateau of Marly, Venus demanding arms from Vulcan for JEneas now at the Louvre ; and the Apotheosis of JE-neas now vanished.
Now, though Michel's searching and accurate pen be silent as to the influences at work as to the ordering of these pictures for the King's private apartments at Marly, it is likely enough that the Pompadour directed the commission. At any rate, this his forty- fourth year finds Boucher working for the warring camps of the Dauphin and the King's mistress. The Court party, about the Queen and Dauphin, fought the Pompadour day and night for possession of the King, with a venom and an ever- watchful intrigue that never slackened, led by Maurepas, the King's minister, and one of the most astute and unscrupulous minds in this unscrupulous century.
After this, Boucher rarely does work for the Queen's or Dauphin's party.
In this year he gives his strength to that Rape of Europa, engraved by Duflos, that was painted for a competition arranged by the Academy at the order of Lenormant de Tournehem in the name of the King, in which chosen Academicians were to paint pictures six feet by four feet high, subject and style to be in the individual manner of each artist — six prizes of 100 pieces of silver and a gold medal to be awarded by the artists themselves in secret vote. Boucher displayed his amiable nature and his wonted kindly sympathy for all with whom he came in contact his life long by proposing with Natoire and Dumont that they should all so arrange as to share the prizes equally and thus avoid any sense of soreness which must inevitably be aroused in the losers ; a decision eagerly approved by the artists and which led to the comically pathetic bewilderment of Lenormant de Tournehem. On the 7th of October, Boucher sold this Rape of Europa for 1500 livres — the highest price he had yet known.
Another Rape of Europa, which had been painted in the ^ year of his Birth of Adonis, and engraved by Aveline, was bought by Lord Hertford. A third version was engraved by Pelletier, and they all three differed considerably.
This Rape of Europa was not without detractors. The Mercurt, always friendly to Boucher, sounded the loud peal of praise ; but even some of his friendly critics began to demur to his " abuse of rose-tints" ; and there were sly digs, even in verse, at his love of robbing Venus of all attire. Diderot was turning upon him for triviality ; for Diderot and the new philosophy were devoting their attention to the whole foundations upon which France rested ; art and letters amongst all other social activities— and they were
46
finding that these things were not very good. They began to demand of art " grandeur and morality in its subjects " ; they were soon to ask of it "the statement of a great maxim, a lesson for the spectator." Boucher's allies began to use "buts." In the previous year, Lafont de Saint-Yenne had censured, and with justice, the cold and characterless features of the figures in Astronomy and Eloquence; and Boucher's friends, particularly the abbe Leblanc, who thought they could with justice sneer away the stupid criticisms about Boucher's children being " for the most part upside down and violent without necessity and without beauty," were hard put to it to show Boucher's sense of "character." Boucher himself, for all his modesty and the praise of his friends, was sensitive to printed attacks ; and in the midst of almost unanimous praise he set aside his rule of silence under criticism by designing the frontispiece to his friend Leblanc's brochure in which he drew Ignorance, Envy and Hate in counsel, and an ass braying opinions.
The Venus and the Graces Bathing and the Venus and Vulcan (engraved by Daulle) in the Galerie La Gaze, were of this year. It is significant that the year of 1748, from which he pours forth the finest of his Venus-pieces, saw the Pompadour come to supreme power ; and that it is during her remaining years that Boucher reaches to highest achievement.
The Pompadour seemed to bring the King luck. Marshal Saxe moved on from victory to victory. The French dream of Empire in India looked assured, when, in October, 1748, the nations, exhausted by war, came to terms of peace at Aix-la-Chapelle.
Peace was no sooner signed than Louis Quinze relapsed into his wonted habit of dandified indolence and boredom. He laid aside his duties as the lord of a great people, gave himself up to shame- less riot, and allowed the Pompadour to usurp his magnificence and to rule over the land. For the next sixteen years she was the most powerful person at Court, the greatest force in the State- making and unmaking ministers, disposing, like a sovereign, of office, honours, titles, pensions. Louis squandered upon her person seventy-two millions of the public monies as they now value it. All affairs of state were discussed and arranged under her guidance; ministers, ambassadors, generals, transacted their business in her stately boudoirs ; the whole patronage of the sovereign was dis- pensed by her pretty hands ; the prizes of the church, of the army, . of the magistracy, could be obtained solely through her favour and good-will. She was possessed of an extraordinary combina- tion of talents, rare accomplishments, and astounding taste. And it was in the exercise of the indulgence of her better qualities that destiny brought Boucher the friendship and genuine admiration of this marvellous woman. She became not only his patron but his pupil, though her engravings after his designs are scarce of the foremost rank of accomplishment. And the best of them, the frontispiece to Rodogune, required Cochin's retouching hand upon the plate.
47
But this, her sovereignty over the King, easy and light in outward seeming, was a haggard-eyed nightmare to the woman who had so craved for it, before she knew the ghastly struggle that it meant. The Pompadour knew no moment's rest from the day she won to the King's bed. She had to fight her enemies, who stood round about the King, secret and open alike, for possession of her lord, day and night, as if for very life — and she fought. She won by consummate skill, some throws of luck, and unending courage. Yet from each day's victories, she soon knew that she must know no hour's rest. The Court party fought her for power. Maurepas, who had made Chateauroux's life a burden to her, brought all his unscrupulous wit, all his mimicry, all his vile jibes and unchivalrous cynicism and hatred to bear against the Pompadour from the day she came into the King's life — all those gifts that so tickled the cynic humour of the King. He had made himself a necessity to the King ; and he never slept away a chance of injuring her. He knew no mercy, no nobility, no pity, no scruple. He made her the hated object of the people ; with his own hand wrote the witty and foul verses and epigrams that were flung about the streets of Paris. But she had an enemy more subtle and insidious than any at the Court, whether in the King's apartments or the Queen's or on the backstairs ; she had a task far heavier than these bitter courtiers and ministers ever gave her, and they were without scruple or honour — hour by hour she had to dispute the King with the King's Boredom.
One of her first moves was her celebrated theatre in the private apartments. It was set up in the Cabinet des Medailles. The first play was by Voltaire — VEnfant Prodigue. Here the greatest in the land vied with each other to play the smallest parts — mar- chionesses of the old noblesse were content if they might but carry a banner — the Prince of Hesse was one of the dancers — the Prince de Dombes was proud to play the bassoon in the orchestra— the Due de Chartres joined the company with difficulty. A great noble promised the Pompadour's maid a command in the army for one of her kin if she would get him the part of the police-officer in
/-r\ . /•/• i
Tartuffe !
Her power so greatly increased that she took open command of the King's will. She dared, and succeeded in getting Maurepas banished — though she did not reckon on Maurepas passing on his hatred to his friend the crafty d'Argenson. Henceforth she used the kingly " We." A single armchair told all to remain standing in the favourite's presence. She gets her father created Lord of Marigny, her brother Marquis de Vandieres— he whom the king called " little brother " and liked well.
She amasses a private fortune and castles and estates undreamed of by any other mistress. Into them she pours art-treasures. These things cost the nation thirty-six millions of money.
She created the porcelain factories of Sevres, which robbed Dresden of a great part of her position, and brought a large
48
DOMESTIC SCENE (LOUVRE).
.istry a: looms. She four
In the midst the midst prodiu
7
the. years i. . " tho K
H<- painted orations for u \partmt
and 'Jellevi; :;e decorated in the C
In her hc> to keep the King from beim^ bored rhe
King " qui /jV" UK. stooped to the very deep* ;
stooped to drag down e%en the. *rt of Boucher She went to .
ourite artist and i ,n-, t,: cnipkry his art's skiii in
painting of a number ;f pit..,,, MS questionable tast<- to rickie the ^- jaded desires of Borcoocn i\n>.\ here let us sp<:ak in hon«»r judgment of this husmeft* It was an ugly habit in the France of the century, as it had been ;n Italy of the Renaissance, this commissioning of the lewd picture for tht "secret collections of the amateurs. These pictures painted hy Boucher for "the special usage of the King, qui s'en-nuyait." which the ill-fated . Louis the Sixteenth on succeeding to the throne so indignantly ordered to be made away with as "toutac i irJeccrtes " — so - taken away and hidden amongst his own belongings by de Maupecn to whom the order was given--and bought for iht cel.ebrutcd Wallace collection at the Restoration — these pictures, it may be. / have been responsible for the wide idea that Boucher painted ^ ever with immoral intent. As a matter of fact, except in tKevi exercises, he painted woman with tiie frank honest hc;iithy vision of a healthy man, just as h« pointed Bowers 3rd ir.iinnts.
To the Salon of 1748 Bobber sent a giMiache sketch of a Venus Hpon if*. lV-?tt-rs , rhe J'^storal of tK- tkfj-iKg a ''
Shepherdess how to play it* tittfe , and i» \;ti square picture of the Nativity. Fessard i-rifcr^vcd a A'aiitf/ by IJoucher m 1761 as the Lumii-re dv Mtmot — and Huquier *?«rj»et, m 175t>, another Nativite, a chartnmg design. it «s significant that Fessard's is from a picture " belonging to Madame dc Pompadour! " Perhaps even from her chapel !
Even the friendly critics were now mixing " burs ' with their praise — this time not only over a Venus but upon a religious subject. Carping is in the air. There is comparison with— Albani ! Bouc!- :.:•_ J .->< s tho.-
of the Italians Th\ -\ must m:;
the Italians " n: 'aphae:
must be account palette of the rose
was free enough with S- Hesh-i
Why should B ^ke Ru! -er.
. . . Asses brayed even in the witty eighteen! I
industry and revenue to France. She watched over the Gobelins looms. She founded the great military school of Saint-Cyr.
In the midst of work that would have broken many statesmen, in the midst of deadly intrigues, she kept complete control of the art production of the land. ,
Boucher left the Opera as its " decorator " in 1748, to go to this theatre of the Pompadour's — and did not return to it until sixteen years later when death took " the King's morsel."
He painted for her the decorations for the Little Apartments and for Bellevue which he decorated in the Chinese style.
In her hectic desire to keep the King from being bored— the King " qui s'ennnyait" - she stooped to the very deeps; stooped to drag down even the art of Boucher. She went to her favourite artist and begged him to employ his art's skill in the painting of a number of pictures in questionable taste to tickle the jaded desires of Boredom. And here let us speak in honest judgment of this business. It was an ugly habit in the France of the century, as it had been in Italy of the Renaissance, this commissioning of the lewd picture for the "secret collections" of the amateurs. These pictures painted by Boucher for " the special usage of the King, ''qui s'ennuyait," which the ill-fate Louis the Sixteenth on succeeding to the throne so indignantly ordered to be made away with as " toutes ces indecences" — so slyly taken away and hidden amongst his own belongings by de Maupeon to whom the order was given — and bought for the celebrated Wallace collection at the Restoration — these pictures, it may be, / have been responsible for the wide idea that Boucher painted >/ ever with immoral intent. As a matter of fact, except in these exercises, he painted woman with the frank honest healthy vision of a healthy man, just as he painted flowers and infants.
To the Salon of 1748 Boucher sent a gouache sketch of a / Venus upon the Waters ; the Pastoral of the Shepherd showing a Shepherdess how to play the flute ; and a little square picture of the Nativity. Fessard engraved a Nativity by Boucher in 1761 as the Lumiere du Monde — and Huquier earlier, in 1756, another Nativite, a charming design. It is significant that Fessard's is from a picture " belonging to Madame de Pompadour! " Perhaps even from her chapel !
Even the friendly critics were now mixing " buts " with their praise — this time not only over a Venus but upon a religious subject. Carping is in the air. There is comparison with— Albani ! Bouchers. Jhej^ine^_ai^_iLcharming^ mistresses," those/ of the Italians Had "more of modesty." The writers must make the Italians " moral1' at all costs— even Raphael's young mistresses / must be accounted modest and moral ! Boucher must rid his palette of the rose-tint — should "consult Rubens." Well, Rubens was free enough with his reds in his flesh-tints, when all's said. . . . Why should Boucher paint like Rubens ? or Rubens like Boucher. . . . Asses brayed even in the witty eighteenth century.
51
The Nativity, however, restored Boucher to the good graces of the scribblers a whit. Orders were now pouring in.
This year he painted for the King the easel-pictures from the Fetes Venitiennes and the Fetes de Thalie, the enlargements from which he retouched with his own hand, and from which two tapestries were to be executed for Muette.
By a rule of the previous year, a scale of fees had been set up, as regards pictures designed for tapestries. The "originals in little," by the Academicians, and the enlarged copies (grandes copies) wrought by their own hand or so much worked upon by them as to be avowed by them as theirs, were to be paid for together, according to size :
Large size, 22 to 18 feet, original and copy — 6,000 livres ;
Medium size, 17 to 13 feet, original and copy — 5,000 livres;
Small size, 12 to 9 feet, original and copy — 4,000 livres.
The large copies were to serve as the model for the weavers ; and the easel picture was at first to remain under the eye of the " tapissier en chef," who would thus always have before him the general effect of the piece to be woven.
Coypel wrote, urging forward some pieces for the Queen of Poland this year, but Boucher seems to have lagged over them. He received also an order for several pictures from the Chancellor or Grand Seal, with, as subjects, the attributes of one of the gods. He painted Two Nymphs of Diana returning from the Chase, for the dining-room of the King at Fontainebleau ; and two large allegoric compositions. Of his Venus-pieces, the two Toilets of Venus were of this time.
In 1749, Boucher had an order for two pictures — Vertumnus and Pomona to represent Earth, with a " pleasing landscape " or with trees loaded with flowers and fruit; and Arion on a Dolphin, to represent Water, with tritons, nereids, and other sea-gods — being two of four pictures to represent The Four Elements, the others to be done later. Also a picture for the King of Apollon et Isse, and three pictures for the " appartement " at Choisy, Love caressing his Mother, Venus disarming her Son, and Venus looking at Love Sleeping. Lenormant de Tournehem writes in February of this year of orders for five pictures by Boucher and Oudry of flowers and foliage with birds, for the Queen's apartments ; and of some landscapes and country subjects for over-doors by Boucher. The Toilet of Venus and Graces chaining Love, at the Louvre, are signed and dated 1749 ; these were obviously once over-doors. And he showed still another Toilet of Venus, dated 1749, at the Salon this year.
Boucher was now so firmly established, that in 1750 he moved into a new house in the rue Richelieu, near the Palais Royal. He was disappointed at not receiving the studio and apartments at the Louvre for which he ever craved ; but he was allowed to use a studio in the King's library, under the Cabinet des Medailles, opening upon the inner court.
52
Boucher was by this time making money so easily that he began to indulge his fancy for curiosities and pictures in considerable purchases.
At the Salon of 1750 appeared his Adoration of the Shepherds, painted for the Pompadour's private chapel at Bellevue. If Boucher must paint religious pictures at all, it at least seems fitting that his should have been the signature upon the altar-piece where the Pompadour prayed and the abb6 Bernis chanted the mass ! Boucher had already painted for the Pompadour at Bellevue two over-doors, the Vues chinoises for her blue and gold boudoir, and the series of Attributes of Agriculture, framed in garlands carved by de Verberck, for the famous gallery.
He showed also four pastorals : Lovers surprised in the corn, (engraved by Gaillard), Shepherdess sleeping (engraved by Beauvais), and a repetition of Shepherd teaching his Shepherdess how to play the flute (engraved by Gaillard as the Agreable Legon.}
At Tours is the Apollo with a Shepherdess (1750), originally painted for the chateau of Chanteloup, in which we see the portraits of M. de Stainville and his young wife in disguise. This name of Stainville is about to stand supreme in France.
The friendly critics amidst their praise complain of the heads of Boucher's women being more coquette than noble — and a more solemn fellow, shaking a serious wig, warns that " to work for money is by consequence to spoil his talents." Whilst even the faithful Mercure, bursting into jesting poetry, lets fly the neat shaft that the shepherdess with her pompons and her falbalas looks as if she had come from the Opera, and would be off again thereto.
These strictures, in spite of Cochin's counter-attack on the critics, fretted Boucher ; and he sent nothing to the next year's Salon of 1751. But he was painting as untiringly as ever. Indeed, he was at the height of his powers, and his rich vein of fancy never yielded more charming results. From these full years date some of his happiest works. A colour-print by Bonnet in 1769, bearing also Boucher's signature and the date of 1751, shows the Pompadour en jardiniere. In the Reunion des Genies des Art (1751) at Angers, his hand shows all its cunning of composition and harmony amidst the intricacy and abundance of the forms in the complex design. The Latona at Delos originally shown as Evanouissement d'Amphitrite, was of this time, and displays his most exquisite gifts of colour. He was pouring out Venus-pieces of the first rank, many of them engraved by Gaillard, Michel, Le Vasseur, Janinet, Basan, Courtois, and others ; innumerable Cupids flew out of his studio ; and Bonnet and Demarteau were re- producing in facsimile a large number of drawings of Venus and Cupids and heads and sketches which were eagerly bought. /
In this his forty-eighth year, Boucher's art is in its most// luminous stage — his atmosphere clear and limpid, his yellows golden, his whites satinlike and silvery, his pearly tones exquisite and subtle, his pale yellows clear as amber, his pale blues tender
53
/ and beautiful, his painting of the flesh-tones upon the nude bodies *•") of his goddesses unsurpassed by mortal hands. <^ The beauty of it all, alas, was not to last much longer.
Troublous days were setting in for Louis, for Paris, for the people of France. Louis got foul of his parliaments.
Lenormant de Tournehem died suddenly on the 19th of November 1751 ; the Pompadour promptly had appointed in his place her brother Abel Poisson de Vandieres, as Director General of Buildings, Houses, Castles, Parks, Gardens, Arts and Factories of the King, at the age of twenty-five. A shy handsome youth, a gentleman and an honourable fellow, against whom his sister had but the one complaint, that he was devoid of brazenness! He brought to his office an exquisite taste, a loyal nature, and remarkable abilities. No man did more for the advancement of art in his day than the Pompadour's " little brother."
Boucher had little reason to complain of the long days of neglect and misunderstanding that are the lot of many artists. The Pompadour's brother was Boucher's friend. Boucher had not long to wait for proof of it. De Troy, the director of the Academy of France at Rome, died there on the 24th of January, 1752, leaving a pension of a thousand livres a year a-begging ; the young Director General of Buildings went straightway to the King and secured the pension for Boucher in this his forty-ninth year.
But of far greater value to artists than royal pensions — which were only too often far in arrears — was a studio with its apartments at the Louvre. For years Boucher backed by his friends, had moved every lever at Court to procure them. The Pompadour's "little brother" again came to his aid, shortly after procuring him his pension, securing him also on the death of Coypel, the studio and apartments rendered vacant by the death of the First Painter.
This studio, with its apartments, at the Louvre, had gone with the office of First Painter to the King. But poor Coypel had seen little of his pension, which had been cut down to a tenth of its old value ; and the old painter had been reduced, for some months before his death, to pathetic appeals for the bettering of his low estate, and had with difficulty at last got 3000 livres.
The title of Finst Painter to the King, with its pension, was allowed to lapse for some years ; but Boucher was eager only for the studio and lodgings, of which he took possession in September 1752, bringing his family and belongings from the rue Richelieu, and vacating his studio beneath the Cabinet des Medailles. Here, in the old palace of the Louvre, he had his home for the rest of his days. The rooms and studio were in such shocking state of neglect that he had to ask for them to be put in repair before he could take possession. It is quaintly significant of the state of the King's Exchequer that the Pompadour's brother wrote a friendly note to Boucher in reply — in which he warns him not to press the King just at present for repairs, as he may turn round at this stage and say that what was good enough for his First Painter should be good enough for Boucher ! Boucher wisely
54
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took the hint, had the repairs done, and afterwards recovered the money.
The decoration of Fontainebleau was going on apace. A new wing was being built to the palace for the use of the King, under the Pompadour's guidance ; and, when it was finished, the more important decoration of the Council Chamber was confided to Boucher. He had already painted for the Dining Room the Two Nymphs of Diana returning from the Chase. In 1753 he was at work without cease upon the ceiling and the principal picture. Soon the last stroke of the brush was given to them ; and the Soleil qui commence son cours et chasse la Nuit was in position ; and the four Seasons represented by infants were shown at the Salon.
He sent to the Salon the same year the two well-known pictures painted for the Pompadour, and now at the Wallace ; Sunrise and Sunset which were to be designed in tapestry at the Gobelins looms by Cozette and Audran. They created the greatest enthusiasm ; and the poetasters burst into verse over the "modern Correggio." But Grimm, "the friend of the philosophers" held to his wonted severity, attacking " this painter of fans," finding his colour "detestable," his pictures damned by comparison with his neighbour Van Loo, his rose-tints "exasperating," his design "bad," his Apollo "nothing but a puppet," and "the two pictures of the lowest rank at the Salon." Boucher himself always had a strange and particular affection for these two pictures; "they were of the nuniber of his own paintings with which he was most satisfied " !
rtists have strange affections for their children. 'Two Pastorals at this same Salon, painted for the Pompadour, for Bellevue ; two over-doors for the Castle of Muette ; the decor- ations at the theatre at Saint-Laurent do not complete the list of this his fiftieth year's industry ; the engravers were haunting his studio seeking works to reproduce — easel pictures, heads, studies, landscapes — and he worked for them all, Chedel, Duflos, and others. And as though for a rest, he designs four models for statues for the Pompadour's castle of Cre9y — a Gardener, a B utter -Churner, a Milkmaid.
w"He was fulfilling the while, most conscientiously, his duties as Academician and professor. Indeed, he was ever a favourite of the students and artists. He had his own pupils whom he was ever ready to help, and in whose success he found the keenest /pleasure. Of the winners of the " first prize at the Academy," La Traverse, Melinde, Deshayes, Brenet, and Fragonard were from his studio.
In June he is a member of a royal commission sent to choose from the Marquis de Crillon's collection the pictures worthy to be added to the King's ; in September he is called, with the same colleagues, to examine into the state of the pictures by Rubens at the palace of the Luxembourg which had been attacked by " gray," and to report on the secret process of Madame Godefroy and
Monsieur Colin for removing the " gray " without displacing them and without damage.
To keep his head cool amid such a mass of work, of duties, and of cares, it was necessary to be up and bustling. It was about this time that Reynolds, passing through Paris, went to visit Boucher, and found him at work upon a huge canvas for which he was using " neither sketch nor models of any kind. On expressing my surprise, he repjiedjthat he had considered the model as necessary during his youth, untiflieTiad completed his study of art ; but that he had not used^oneL.for_a_ long lime past." He was rushing his work, relyirig^on his memory, ceasing to be, of a truth, a sad truth, a student of the life, becoming the maker of a convention. As astute Michel has it, when he painted the Painter in his Studio, now at the Galerie La Gaze, he shows a large number of studies and sketches beside the easel. In The Painter, engraved by Marie Igonet in May, 1752, the book of studies is gone; he is seated before his canvas in his dressing-gown and calico cap, hard at work, amidst an amusing confusion — his wife looks over his shoulder, a child in her arms, whilst two little boys play on the floor, one grinds some colours whilst the other tells fortunes by cards. It is his own indictment.
He soon had no time even to give his pictures the minimum amount of work necessary for them, to say nothing of studying nature or life. His vision begins to hesitate, his hand to falter. The Pastoral at the Louvre dated 1753 (No. 27) is already heavy and without fire. It is but chance, yet here is the dis- quieting symptom. He has topped the hill — it is the moment of his decline. He must descend the other side.
Boucher begins to grow old.
Louis Quinze and Louis-Quinze-France also.
The quarrel between priests and parliaments is now at its bitterest. Louis banishes parliaments and establishes a Royal Chamber. The writing on the wall does not make for ease of mind to Louis, nor his France. Atop of all comes an ugly scuffle on the American frontiers of New England — one May morning an English force under a young English major, a dogged fellow of the name of Washington from down Virginia way, cut to pieces a French command — the resulting attack and defeat and surrender of Washington did not make for peace. This threat of war with England calls for money; and the Pompadour has not money- making ways. In Paris the people are ablaze with anger, not against the King's enemies, but against the King. A peace is patched between King and people — the parliament is recalled — enters Paris in triumph, grimly enough on the day that, to the Dauphin, is born a second son, who is to succeed as Louis XVI.
A backstairs intrigue almost dislodges the Pompadour. D'Argenson with the Pompadour's treacherous cousin Madame d'Estrades, throw the beautiful and youthful Madame de Choiseul- Romanet, not unwilling, into the King's way to lure his fancy from the Pompadour. The King writes her a letter. The girl consults
58
her kinsman the Comte de Stainville, of the Maurepas faction, a bitter enemy to the Pompadour. De Stainville, wounded that a kinswoman should be offered to his King, goes to the Pompadour, exposes the plot, becomes her ally, and soon her guide in affairs of state.
The Pompadour never forgot this peril. She saw the hint of her personal attractions beginning to wane upon the King. She decided to keep her supremacy by forestalling a rival. She had stooped before, and in stooping had not shrunk from making Boucher stoop. She now stooped to the basest shift of all. She supplied the King with mistresses of the lowest class, who should never come into intellectual rivalry with herself, nor be the prop to his will and to his ease that she was. The first of these was Boucher's model, the little Murphy — la petite Morphil of the songs. For her she started a little house near the palace for the King's pleasure ; which system developed, as scandal has it, into the beautiful retreat of her notorious pavilion in the Parc-aux-cerfs near Versailles, which she made into a seraglio of beautiful young women, thus securing herself against the danger of unknown and secret rivals. That the French Court, already a severe tax upon public opinion, should become an outrage upon public decency, troubled her as little as it disturbed the ease of her lord. Public contempt grew, and ex- aggeration. From henceforth the little " Well- Beloved" lost its reality in satirical use, and took on a comic meaning.
VII.
IN 1754 the Pompadour's amiable " little brother," Boucher's good friend Abel Poisson de Vandieres, was created Marquis de Marigny ; Boucher lost nothing thereby.
Boucher now yielded himself utterly to his vogue. % /
His pastorals and shepherd-pieces ; his pastels ; his drawings in V red chalk, and in black chalk enhanced with white or touched with ( pastel, were at once seized upon by eager engravers and had an T immense sale amongst the general public.
Now, we have the testimony of his own day that he refused to take advantage of his ever-increasing reputation in order to raise the price of his work. His fortune grew rapidly ; he there- fore had to do more work. He poured out his brain's ideas. He spent freely of his means, embellishing his lodging at the Louvre, and buying celadon cups and handsome porcelain, Indian boxes, precious stones, rubies, agates, onyx, emeralds, cat's eyes, crystals, fragments of beautiful stones, calcedony, jasper, coral, birds, insects, butterflies — anything that fired his colour-sense. He has been blamed for this as a man of trivial tastes ; nothing could better prove his desire to keep his eye for colour quick. He collected also pictures and etchings. To lay too much stress on his choice were stupid. He would buy what he could get — few of us can make an exclusive collection of the supreme examples of
59
our taste. Even so, we find him famous for his collection of Rembrandt's etchings — yet these were days when Rembrandt had no great vogue, and the greatest artists feared to set him and Velazquez and Hals beside Michael Angelo and Raphael — and Pietro da Cortona and Albani ! the great Dutchman being indeed pronounced somewhat vulgar ! Boucher's liking for Tiepolo is obvious. Nor do fourteen drawings and a sketch by Rubens, nor pictures by Jordaens, by Teniers, and by Van Goyen prove him of the trivial leanings that were the constant sneer against the dead man — to say nothing of his engravings after Gainsborough.
The engravers of Boucher were as much pushed as the master — naturally the quality of this engraving did not always maintain the highest level. Boucher protested ; his protest got into print. It lead to the great breach with Duflos. In the March of 1755 appeared in the Mercure an announcement that a set of prints recently issued by Duflos, as being after pictures by Boucher, had been engraved from furtive drawings made in the master's studio by the least capable and least advanced of Boucher's pupils, and given without his knowledge to the engraver who put the prints on sale, without the leave of the painter who refuses to recognise or acknowledge them. In May, Duflos replied tartly with an ugly thrust that must have gone home to Boucher : " Every man has his mania; that of M. Boucher is to avoid being engraved ; occupied with works that please him, time flies ; he has not always time to do new work ; his pictures in private houses are not seen by everybody ; if he received an order from the country, a few strokes of the pencil, some deft touches, added here or taken away there, make a new picture, and give the painter time to breathe ; the engraver loses, also the public — but the Academician gains."
The trick of thumb is there ; but facile habit has taken the place of inspiration.
From henceforth he signs more rarely and at longer intervals, only such charming pieces as the Mill (1755). But the feverish haste that had taken possession of him left him less and less leisure to joy in his works; and his eyesight began to fail. His flesh-tints deepen to a strong reddish hue ; he is not ignorant of the reproach; he fears it must be something to do with his eyesight, for he only sees as an earthy colour what people cry out to be bright vermilion.
Again, in working for the tapestry-weavers he had to force the colour, as models for the looms were pitched in higher key.
Oudry had introduced Boucher to the Beauvais factories, and to the Gobelins, whither he sent several works for the King — Neilson executing there his design in 1750 of Love Lighting his Torch at the Fire of the Sun. In this year of 1755 Oudry died. Marigny at once persuaded the King to grant the directorship of the Gobelins to Boucher ; who, in the same year received 1 ,000 livres in special recognition of the care he had given to the
60
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61
factory. Boucher was to receive 2,000 livres a year, which were but irregularly paid, and that only after long delays.
The last year of Oudry's direction had been disturbed by strife with the tapestry-weavers. Boucher's appointment was hailed with delight. A few months after his appointment, he set to work upon seven pieces for the King's apartment at Compiegne, which Marigny had persuaded the King to commission from Boucher in November, in order to revive the manufacture which the constant repetition of stale designs had made to fall into dulness ; he had pointed out at the same time the significant fact that the success of the Beauvais looms had been largely due to Boucher's art. Boucher was wisely given the choice of subjects, and his fertile mind had not to go on a long journey through the clouds ; the story of the galantries of the gods, of Jupiter and Venus, had always had a lively fascination for him. These Amours des Dieux were placed in medallions bordered in gold, suspended like pictures to a garland of flowers, and set upon a rose ground, framed in a large darker band of rose, itself surrounded by a gold border.
At the Salon of 1755 Boucher was again a defaulter. "We suspect," said his good ally the Mercure, "that the little furtive scribblers are the secret cause."
Meantime church and parliament had broken out into open war again. Louis had need of parliament's support — hostilities at sea with the English made war inevitable. Support came from the most unlikely place. Maria Theresa, the astute Empress of Austria, that had been for two hundred years the implacable enemy of France, wrote, with her own hand, the famous letter which addressed the Pompadour as " Ma Cousine," and won the close alliance of the May-day Treaty of Versailles in 1756. A treacherous clerk betrayed the secret to Frederic of Prussia's spies — and he seized Leipzig and Dresden and set astir the mighty Seven Years' War. Paris was in a state close upon revolt, when poor foolish Damiens, reckless of his own life, stabbed the King with a pen-knife as Louis /stepped into his carriage at Versailles.
In 1756 Boucher painted the famous Rothschild Portrait of Madame de Pompadour. He had painted for her the two well-known pictures the Muse Erato and the Muse Clio (engraved by Daulle), in both o which she is said to figure as the Muse. Indeed this was not the first time that Boucher paid the " tribute of immortality " to his benefactress — nor the last.
This celebrated portrait caused high commotion. Here the Pompadour poses as artist — at her feet are portfolios, rolls of music, a crayon-holder with a red chalk in it, and a graving tool ; but she is also the femme d'Etat, the Woman of Affairs — on the rosewood bureau beside her, where she sits upon the chaise-longue, is the pen in the inkpot, a ministerial portfolio, a forgotten, neglected flower. Roslin is said to have put in the lace upon the robe for Boucher.
Boucher painted the Pompadour in another fine portrait wherein she poses as artist — standing in an orange silk dress before an easel.
63
At the Sireuil sale was described a pastel portrait of the Marquise, three-quarter face, coiffed, and with the throat half-uncovered.
At the National Library in Paris, amongst a portfolio of plates engraved after Boucher, is an aquatint Madame la Marquise de Pompadour, morte en 1764, signed by Boucher and engraved by Watson— a bust-portrait in which she is shown with throat bare, a drapery floating round her shoulders, pearls in the hair, which is dressed very close and short, the nose strong, the lips full and sensual. This is the canvas, of all that Boucher painted, which looks as if it were a true likeness.
At Versailles is another bust-portrait, much like this, a full face, and with bare neck, flowers in her right hand, which is drawn back to the left shoulder, where the end of a bluish green drapery, broken with yellow, is held by a blue ribbon which passes over the uncovered breast ; in the powdered hair are set blue and yellow flowers ; the cheeks are painted and rouged.
It has been said, that it was not the face that interested Boucher most in a man or a woman, above all in a woman ; that he had not any of the great qualities out of which great portrait- painters are born. A neat saying brushes aside the truth easily enough. Boucher, as a fact, painted but few portraits, but of such as he painted, more than one, the small " blue Pompadour'' seated on a couch (at Edinburgh), the celebrated and exquisite Pompadour in a garden (at the Wallace) and the little portrait in white dress seated in a garden (in South Kensington) prove that, when he set his will to it, he cannot be ignored amongst the most brilliant masters. His portrait of the Infant Orleans Egalite stands out as one of the greatest of child-portraits.
Of other well-known portraits from his hand, are the Portrait of a Child painted in 1749; the Marechal de Lowendal, (engraved by Larmessin) ; Marie Leczinska ; Madame Favart, coiffed with rose- garlanded ribbons and forget-me-nots ; the Nattier-like canvas in the Galerie La Gaze ; the nude picture of Mademoiselle X*** en habit d'ete ; and the pastel heads for the Cabinet des Beautes.
At the Salon of 1757, Boucher showed the Rothschild portrait of Madame de Pompadour, which he had finished the year before. The friends of the artist and his sitter went into ecstasies over it ; but the critics were not so pleasant — the grumbling Grimm declared it "detestable in its colour and so overlaid with detail and ornament, pompons and all kinds of fanfreluches, that it made the eyes ache in the head of anyone of good taste," — which Grimm presumably thought that he was and Boucher was not.
Boucher also showed a large Venus demanding arms for JEneas now at the Louvre (No. 708), a design for the Gobelins looms; the Forges de Lemnos, also for these looms ; and two Infant Subjects for the weavers.
Boucher had long turned his back on religious subjects ; but he was now again brought back to them, as once or twice before, by the Pompadour, who desired an altar-piece for her private chapel at Bellevue! So it came about that in the same year he turned
64
from his illustrations to the Decameron (engraved by Flipart and Lemire) to paint the Repose in Egypt, now at the Hermitage, St. Petersburg ; and in the following year (1758) the Infant Saviour with the Kneeling Baptist.
To the Salon of 1759, at fifty-six, he sent a Madonna (according to the Mercure, a Nativity according to Diderot), which created a new feeling amongst the critics. This was the year that Diderot wrote his first " Salon " — he had not yet declared war against Boucher — and compares the Madonna with the work of another, to Boucher's great advantage. In spite of " the false colouring, the bed with the ridiculous canopy," he could live with this picture — "you may find fault with it, but you cannot ignore it."
In truth, when Boucher took the time to it, he still knew how to create the good thing. The St. John Preaching at the church of Saint Louis at Versailles, and the sketch of the Trois Graces portant V Amour in the Gallery La Gaze, dated 1759, are charming in freshness of colour and in style. This clearly is the year also of the female nude study, back view, so exquisitely etched by de Goncourt.
He was steadily at work at this time upon his paintings Amours des Dieux for the Gobelins looms — in 1 759 and 1 760 appeared the engravings by Gaillard of the Jupiter and Calisto and the Jupiter and Leda.
In the midst of disasters the Pompadour persuaded the King to send for De Stainville, from the embassy at Vienna, and to make him his prime minister. She had at last found a man who was loyal to his word. De Stainville was created Due de Choiseul in December, 1758. Choiseul had as ally, one of the most astute and subtlest minds in eighteenth-century France — his sister Beatrice, the famous Duchesse de Grammont. The King had at last by his side a born leader of men. Choiseul gave back the King his dignity. He and his great sister came near to saving France. Choiseul became the Public Opinion of the nation. He founded his strength on parliament and the philosophers. He became a national hero. He could do no wrong. Choiseul came to power in 1758, and stemmed for awhile the tide of disaster to France.
The Parliament men took courage. Philosophy, with one of its men in power, spoke out with no uncertain voice. All France was listening.
Boucher was frankly bewildered by affairs.
He painted in 1761 the Genies des Arts for the Gobelins looms- He showed at the Salon of this his fifty-eighth year, some Pastorals, and some Landscapes. Diderot attacked him bitterly — deploring that such talents and great gifts as were his should be so debauched in order to win the applause of little men. Yet even Diderot has to confess to the imagination, effect, magic, facility.
But in spite of spurts of the old magic, Boucher was rapidly approaching his premature decay. He had burnt the candle at both ends, with a vengeance.
We have the picture of the man, already old, in the fine portrait painted by Roslin, the Swede, and shown at the Salon of this very year — now hanging at Versailles. Roslin has caught him in one of those moments not given up to pleasure, not fired with work. Sad ; old age creeping over the shrewd kindly features ; the eye is dulled, the fire gone out of it ; already the crow's-feet are printed there ; there is world-weariness in his attitude as he looks out upon us over his shoulder, his right elbow over the chair-back ; feebleness has come upon him ; but — the hand, the long strong sensitive hand, keeps firmly in its slender nervous fingers the crayon holder with its red chalk ! It was to be held in those fingers to the last hour.
In 1762, with a faltering, weary hand, Boucher painted the Venus receiving the Beauty Prize and Love Disarmed. But sickness was fallen upon him; and from henceforth was to leave him but rare intervals of respite. On the 3rd of July his colleagues of the Academy officially charged Deshayes, his son-in-law, to convey to him the sorrow of his comrades at his illness.
He showed at the Salon of 1763 The Sleep of the Infant Jesus ; a small landscape, and the pastoral Berger endormi sur les genoux de sa bergere. Diderot burst forth into rank abuse. Boucher was nothing more than a man corrupted by praise, and made giddy by his talent — the ruin of all students — it was his fault, and his alone, that they were all wearying the world with garlanded infants, and painting their chubby, rosy, &c. — the rest is rather after-dinner conversation, even for Diderot.
Boucher took no notice of these attacks ; but he could not wholly ignore the change that was taking place in public taste. The ideas of the philosophers were penetrating public opinion. The Man of Feeling had arisen and was walking abroad.
They were beginning in fact to speak of the great antique days — of the simplicity of Greece. Leroy, the pupil of Blondel, had published in 1758 his Ruins of the most beautiful monuments of Greece ; the writings of Winckelmann were becoming known to the French public; in 1766 a miserable translation was published of his History of A ncient A rt. Gabriel was giving at the same time the telling example of an intelligent return to simple and harmonious lines, that were soon, in their turn, to be overdone by too ardent and narrow disciples ; Vien was also heading towards the coming reaction. Fickle fashion was about to turn her back upon Dresden shepherds and shepherdesses and leafy groves ; and to take up her abode awhile with heroes, and amongst picturesque ruins.
Boucher, bewildered by her vagaries, vainly endeavoured to adapt himself to France's new intellectual and artistic mistress — do we not find him raising in the background of his Moineau apprivoise the columns of a temple and a pyramid which in some puzzled mood he considered to be the monuments of the ancients ? Whatever virtue lay in the new thought and
•
66
S1
^ i3 I
Pf AIRF
it .1 .A L 'a. 1 JTV 1 _j
the no purer, r.
Boucher r generosity to Vien in 176^ as .'
M.
be cleansed from within, blotting out of the . dominant amo- they had governed for
as vast as it was secret. Their vtr>: j±.t*
quarrels, with, the parliaments, and then $tf:. < * ^ tyranny, had roused the hitter hatred <»f tht a,»jir--: u? « <«.-»u ••' people throughout the land. ChoiwuJ w&s ' h,-ir He decided to b!ot t'r< root a&d I>raf..<^i. TJxe porWA.- -.
closed up its ranks. Qun^eul w»u> U. hHX«ey<KJ
In 1764 Boucher ! fm t»u- <»»)bt?inj toon** the /4*v*-i
AV; «OIK — Vertwihu. ami I'-jriona — ami iisfr**; *W
Cephalw. The larger nusni)er of thos>e pj^tures paintfrd 1 Gobelins during his directorship are at tht i^iuvre or t*".a amongst them the " A mynihus and Syivu : " .mJ fj»f: •• KM the Louvre.
In the October of this year, Cocbir, /»« suggest the painters and subjects for ;}w* at the Castle of Choisy, replied th.it ? four, led him to propose i-.b* Elements, but, he added, " / fo»?.«».», //*rt^ furnish but commonplace idtu* :t he continues: "The deeds of war-f < «, v*? the destruction of the human race h-r" is it not reasonable to show nornvtifrv's « of humanity, which the great kings h/ive ii->n<; their peoples ? " Diderot has i-.'iumphed inJeeti philosophers, and the Man of Feeling.
Under the sway of these s'l^tcsttons, ihe subjctt* *;iK«nrii Augustus shutting the gaits oj tftg 1\mrU of /IHH;, Liberty to his Prisoners, 7V:.*- i**itts Trajan, antt (ff Marcus Aurelius. The pu;.v rs ». 'vLttxl were C»rie V»f *^>o. Vien, Boucher, and !. .* iaw DesbRyei* >«;hin,
who had planned th>s g;. • . : . • . > iJ.
adds of Boucl, fora, long »v*,J; t; have
at last a eta .;al r There HI
something pathc -ocd ,
troubled in his s<; ^ aside
from his Nympii- surprists, and otht other, could pjmr This offici. September, I/ •
.
O K PI .j AI R K .
the new movement, Boucher's own pure French landscapes were | / purer, nobler, and truer than this vile pseudo-classical clap-trap. I ^
Boucher realised that there was a new thought, and with wonted T generosity and keen foresight for the welfare of others, he sent i to Vien in 1764 his young kinsman who was to become illustrious as Jacques- Louis David.
Meantime Choiseul's masterly mind saw that France must first be cleansed from within. At peace abroad, Choiseul turned to the blotting out of the turbulent order of the Jesuits, who, dominant amongst her clergy, holding the ear of royalty whom they had governed for three reigns, had an influence upon affairs as vast as it was secret. Their vindictive acts against, and quarrels with, the parliaments, and their galling and oppressive tyranny, had roused the bitter hatred of the magistracy and of the people throughout the land. Choiseul was their bitterest enemy. He decided to blot them out, root and branch. The popular party closed up its ranks. Choiseul waited, lynx-eyed.
In 1764 Boucher painted for the Gobelins looms the Amours de Neptune et Amymone — Vertumnus and Pomona— and Aurora and Cephalus. The larger number of these pictures painted for the Gobelins during his directorship are at the Louvre or the Trianon ; amongst them the " Amynthus and Sylvia " and the " But " are at the Louvre.
In the October of this year, Cochin, at Marigny's request to suggest the painters and subjects for the decoration of the gallery at the Castle of Choisy, replied that the number of pictures being four, led him to propose the Four Seasons or the Four Elements, but, he added, " / consider that these are hackneyed subjects that furnish but commonplace ideas to men of abundant genius." And he continues: "The deeds of warriors, who have for object but the destruction of the human race, have been so much celebrated, is it not reasonable to show sometimes the generous deeds, full of humanity, which the great kings have done for the welfare of their peoples ? " Diderot has triumphed indeed ! Diderot and the philosophers, and the Man of Feeling.
Under the sway of these suggestions, the subjects chosen were Augustus shutting the gates of the Temple of Janus, Titus giving Liberty to his Prisoners, The justice of Trajan, and The Charity of Marcus Aurelius. The painters selected were Carle Van Loo, Vien, Boucher, and Boucher's son-in-law Deshayes. And Cochin, who had planned this gentle means of aiding his old friend, adds of Boucher that "he has desired fora long while to have at last a chance to paint an historical picture." There is something pathetic in this glimpse of Boucher, disturbed and troubled in his soul, eager to prove that he could turn aside from his Nymphes au bain, Attentions dangereuses, Baigneuses surprises, and other frivolous gallantries, and, just as easily as any other, could paint "an historical picture" for the Serious Ones! This official effort to capture the " Great Art " was still-born. In September, 1766, Marigny had to report to the King that the four
pictures for Choisy, showing the deeds of generosity and humanity of divers princes had not been crowned with success ; and begged to displace them and send them to the Gobelins factories, ordering in their stead four pictures by Boucher, " whose brush, guided by the Graces, appears more fitted to decorate so agreeable a place of sojourn." These pictures were never painted by the old master's hand. The guidance of the Graces was at an end. Boucher fell ill. It fell to Pierre to paint them.
And the Pompadour ?
Choiseul bent on destroying the Jesuits, got his chance in a strange fashion — and he took it in as strange fashion. An attempt by the Jesuits to end the Pompadour's scandalous relations with the King was the trivial thing — the match that started the explosion. With all his skill of statecraft, Choiseul leaped to his weapon. In secret concert with the King's powerful favourite, he decided to hurl them down. The chance soon came. Louis, egged on to it by his astute minister and vindictive mistress, abolished the Society from out all France, secularised its members, and seized its property.
The Pompadour lived but a short while to glory in her triumph. Worn out by her superhuman activities ; assailed by debts that threatened her wide-grasping hands which spent even before she gathered in, she had to borrow 70,000 livres to pay her way when she fell ill with a cough that racked her emaciated body. Her last hour found her transacting affairs of state. She died on the 15th of April, 1764, in her forty-second year, keeping her ascendancy over the King's will, and the supreme power in France, to her last moment. And Louis ? Weary of his servitude, he had but a heartless epigram to cast after the body of the dead woman, as it passed in funeral procession to its last resting-place.
Whatever posterity may have to say of this cold-blooded, calcu- lating, grasping woman, who crushed down every nice instinct of womanhood in order to become a king's mistress ; who knew no scruple in keeping the King's favour; who was without mercy, without pardon, without remorse ; bitter and adamant in revenge ; who turned a deaf ear to the cries from the Bastille ; whose heart knew no friend but self ; who made of statecraft a vulgar traffic, playing the part of kingship like a tradeswoman; it must be allowed that at least for Art she did great and splendid service. She was no formal patron of Art. She loved it. What heart she had was in it. She not only encouraged and brought out the best achieve- ment of her age ; she did Art an even more handsome service — she insisted on artists painting their age and not the dead past. Again and again she insisted upon it. And Art blossomed like a garden throughout France.
She created the outer habit of France. She created the room, the Salon, the arts and crafts of her age — the fashions, the handicraft, the furniture, the carriage, the chairs, the fans, china, tapestries ; the whole domain of the cultured man's habitation and its ornament were dictated by and were subject to her. She mothered it all.
70
VIII.
THE death of the Pompadour robbed Boucher of a powerful friend and protector; but it did not lose him his position with the Court. Her brother Marigny was faithfully attached to him. At the death of Carle Van Loo, Boucher's life-long friend, the post of First Painter to the King became vacant ; Marigny immediately secured it for Boucher, who thus came into this honour in his sixty-second year.
Marigny, in writing his congratulations to Boucher, in which he charmingly announces that the honour must be the more flattering to the painter since the King has consulted the public wish, pointed out that it meant the loss of the directorship of the Gobelins factories, which was not compatible with the high office he now held ; but he added that the King desired to continue the pension of 1,200 livres which he already enjoyed, as also the entire appoint- ments and fees attached to the position.
There had been serious intention of appointing Boucher to the Ecole des Eleves Proteges, for which, as Cochin said, he had the valuable merit of making himself liked and of inspiring the love of work and enthusiasm for art. Boucher was indeed very popular always in the studios owing to his kindliness, his eagerness to render service, his readiness to encourage the youngsters, or to console them. When the riot took place in 1767, provoked by the decision of the Academicians in awarding the Prix de Rome, the students ranged on either side down the place du Louvre to insult the academicians, hailed the old master, Boucher, with loud and
repeated applause When one came to him for advice, he
did not play the Pontiff, but, scorning the charlatanry of big words, chose rather to enlighten the youth by example than by laying down rules — putting himself out in order to make things clear to a young artist. " I do not know how to show you but with a brush in my
hand," he would say However, the fear that Boucher was
not a sufficiently orthodox master for youth— a fear aggravated by the attacks made upon him by the new criticism — prevailed ; and Michel Van Loo, asking for the succession to his uncle, was given the office, as gossip had it, largely on Boucher's advice. Indeed Boucher's well-known contempt of too great servitude to the old masters was widely known.
A serious illness, followed by a iong and weary convalescence, prevented his painting anything to the Salon of 1765, when he had keenly desired, this year above all others, to be well represented. Not to limit himself to sujets galants, which seemed to irritate the new criticism, he asked M. Bergeret de Grandcourt to lend him during the Salon two pictures from his collection, the Jupiter in the shape of Diana surprising Calisto and the Angelica and Medor. He added eight pastorals. J
Diderot gave himself up to outrageous violence : " I do not know what to say of this man. Degradation of taste, of colour, of composition, of character, follow upon deprivation of morals.
71
( What can there be in the imagination of a man who passes his life
Vwith loose women of the lowest class ? I say that this man
/ does not truly know what grace is ; I say that he has never known
w truth ; I say that the ideas of delicacy, honesty, innocence, simplicity,
are to him almost strangers ; I say that he has not seen a scrap of
nature, far less that which interests my soul and yours. All his
compositions make hideous confusion to the eyes. He is the most
mortal enemy of silence that I know When he paints
infants he groups them well In all this numberless family
you -will not find one employed in a real act of life, studying his lesson, reading, writing, stripping hemp!'1''
Poor unfortunate infants! Is philosophy to bring you this for prize ? Diderot's soul, and mine, and thine — are they to be more thrilled and uplifted by seeing infants at work than at play ? Are even little infants to cease from jollity-, and learn to labour ? Poor Boucher blundered much, sinned much, played overmuch, had his faults, large and small. But Diderot and ye philosophers, had ye none ? Is the good you did, to be wholly blotted out by your blunders ? Did you plumb the future so absolutely rightly, when all's said ? Larger you saw life, in many ways, than the corrupt age you condemned ; but flawless not at all, any of you ? And when you sat down and wrote such blatant trash for art-criticism as this, you stooped low enough — lower in truth and rightness and justice and honesty perhaps even than he whom you charged with lacking these things. He at least felt and knew what was art, so far as she revealed herself to him. You did not even know what Art was !
Yet were your aims high, even though your acts grossly unjust, nay malevolent. Poor Boucher did not understand you — nor you him. That was all. He was an artist. He painted his generation and the spirit of that generation as far as he saw it or knew it — or could see it or know it. He was not untrue to it. The pity of it was that his generation and his age were untrue. The whimsy of it was that you, who most condemned that generation, set up also false gods and fantastic falsenesses in art, debauching your nation's vision of reality with foreign and alien things that had no part in its life — were indeed as untrue to that life as the worst thing that Boucher drew. Blame Boucher as ye may, are not his landscapes more France than the vile classic ruins and false sentimentality painted by your " moralist " folk who followed after him ? with their preposterous Greek temples set in the fair prospect of France, and their dull and empty daubs.
It never struck Boucher that his infants ought to be at school — never dawned upon him that they should have been budding philosophers instead of laughing and being glad to be alive — he had no thought to train them as Men of Feeling. He had no joy in setting them to toil, even to the picking of hemp. He had no faintest desire to make them "teach a lesson to the spectator." He was but a healthy man, delighted at the wondrous miracle that they should Be.
A BACCHANTE (Attribute/I to Boucher |
74
Boucher con;
that he painted rot so
The Virgi
Love, in 1765,
Venus A wakening, Lot,
by Bonnet
Beloved Bird, engrsivtd
chases en ferez-vom
Demarteau was p
skill, his Char at. i
to the Opera after the ti- the Castor and Pollux, in 17£4.
1766, and the Tithonus and Atr-'-?* • But he was growing .i>j TH< « .
a grey head. The features tt-erv gv.<r,vv'
something of its one-time cup;i>»?>.: ar.a its vvg; Boucht- '. to Holland, in l/6*>. witJ1
Boisset, the K'et fiver Geoer»J. To tht Salur.- ', } " IH >
DiJeror -d him for h« ;;is
contrii -sneered at hjw thr F>;».t the Kitjg. tV-r
not having the progress of Ait wrc ^t ' is :,- the very
moment," cries he, robbed of his ,i retaining
the title that you give the Hrst b!o' »r*.i.t useful
institutions ; and that, too, for fe;«r <
Ah, Diderot! what hath pbiitw-p,v,> „ ^ttle
breeding had done .so much mor». L*.u-'. last petty spite upon a gentle feiK'v* But he mil give thee one more ca»rve 1 5
In 1768, four years after live patient, neglected Queen, amiabi? Jul grave. The King's grief and contr.tk life came over-late, and lasted little ion »,*••• :?•• floods of tears c.ver the body of his cfc'j he was become the creature of the of one Anne Bcqus of Vaucouieur*< vulgar creature of the gutters, som*: reborn under a forged birth-cert«fJc«t« »* <^. v and being married by the King's ;w%ltir- •* nobleman of the court, appealed ai V. -^: : . • better-known and immortally fr< the remonstrances of Choisetil •*«•'» :.' degradation of the throne of Franc* and disgust of the upstart counie.- made for himself thereby. Boucher, First Pa Boucher was fail The Salon of 17< Batiemiens, painted in ; his pen in vulgar ink \v, die without showing hir re in '
Boucher continued to paint, as he had always painted — except that he painted not so well. Education of the Virgin, in 1766, The Virgin with the Infant Christ in her arms, in pastel, Venus and Love, in 1765, now at Berlin ; Venus rising from the water, in 1766; Venus A wakening, Love begging Venus to return to him his arms, engraved by Bonnet ; Fishing, in 1764 ; Fishing Villager, engraved by Gaillard ; Beloved Bird, engraved by Flipart ; Elle mord a la grappe, De trois chases en ferez-vous une ? landscapes for the Dauphin ; whilst Demarteau was producing in facsimile-engraving, with astounding skill, his Character Heads and Academies. Boucher had gone back to the Opera after the death of the Pompadour ; and painted there the Castor and Pollux, in 1764, the Theseus, in 1765, the Sylvia, in 1766, and the Tithonus and Aurora, in 1768.
But he was growing old. The wreath of roses was wilting on a grey head. The features were going pale. The hand alone kept something of its one-time cunning and its vigour.
Boucher went to Holland, in 1766, with his friend Randon du Boisset, the Receiver General. To the Salon of 1767 he sent nothing.
Diderot attacked him for his absences as hotly as for his contributions — sneered at him, the First Painter to the King, for not having the progress of Art more at heart ! " It is at the very moment," cries he, robbed of his bone to gnaw, "of obtaining the title that you give the first blow to one of our most useful institutions ; and that, too, for fear of hearing hard truths."
Ah, Diderot ! what hath philosophy done for thee ? A little breeding had done so much more. But thou hast near spent thy last petty spite upon a gentle fellow. He is going to his grave. But he will give thee one more chance to show thy nakedness.
In 1768, four years after the death of the Pompadour, the patient, neglected Queen, amiable dull Maria, followed her to the grave. The King's grief and contrition and vows to amend his life came over-late, and lasted little longer than the drying of the floods of tears over the body of his dead consort. A year later, he was become the creature of the woman Jeanne, natural child of one Anne Bequs of Vaucouleurs — a pretty, kindly, childish, vulgar creature of the gutters, some twenty-six years old, who, reborn under a forged birth-certificate as Anne de Vaubernier, and being married by the King's orders to the Count du Barry, a nobleman of the court, appeared at Versailles thenceforth as the better-known and immortally frail Countess du Barry. But neither the remonstrances of Choiseul with the King against this new degradation of the throne of France, nor his unconcealed scorn and disgust of the upstart countess, nor the dangerous enemy he made for himself thereby, signified greatly now to Fra^ois Boucher, First Painter to the King.
Boucher was failing.
The Salon of 1769 was his last. He sent the Caravane de Bohemiens, painted in the style of Benedetto. Diderot dipped his pen in vulgar ink with huge glee, "The old athlete cannot die without showing himself once more in the arena," he cried
76
soon after, and unashamed. But praise was now become a rare commodity — criticism more severe. Boucher lacks correctness — eyes are too large — noses too small — expression is monotonous.
Boucher signed this year Wisdom and Justice ; the Young Mother sleeping beside her Child in the Due d'Aumale's collection ; and the Presentation at the Temple at the Louvre, a study in grey oils on paper — a process of which he was very fond.
Boucher had for some time gone about like a shadow of himself.
His son, Juste-Nathan Boucher, had been a great disappointment to him. He seems to have been a dull dog. He had taken to architecture instead of painting, lest his father's glory overshadow him. Sorrow laid a heavy hand on the old painter. His favourite pupils, Baudoin and Deshayes had married his daughters. Baudoin had died a few years before ; Deshayes was now taken. The light of " The Glory of Paris" was going out.
At five o'clock on the morning of the 30th of May of 1770, amidst his treasures, seated at his easel before a picture of Venus, the brush fallen out of his hand, they found Boucher dead.
Even Grimm unbent, and owned that Boucher's death was a very great loss to French Art, though Diderot threw jibes at his coffin.
They buried him on the 31st of May at St. Germain-l'Auxerrois.
IX.
BOUCHER won every heart. The "Glory of Paris" was without spite ; void of envy, or pomposity, or undue pride, or petty conceit. Treading under foot all jealousy ; hating chicanery ; bluntly dis- dainful of all pose; incapable of hypocrisy; contemptuous of all pretence — he lived his day in debonair fashion, working like one possessed, playing like a wild thing. He knew few regrets. He shrank from attack, bewildered that others could do to him what he was too gracious to do to them — surprised, since he detested to see others attacked. Affectionate, a good ally, a loyal comrade, unselfish, generous, a man who never lost a friend or feared an enemy ; one who set aside all private gain to heal a wound, or save another from an humiliation ; who hated strife, and did his all to promote good-fellowship and make a pleasant path to the way- faring of others — he died regretted even by his self-appointed opponents. Incapable of revenge ; to become his enemy was simply to be blotted from his notice. A loveable good fellow who shrank from giving a wound. A wit who used no venom in his rapier-play of repartee. A humorist who ever kept back the jest that held a sting. He never stabbed a reputation nor deserted a friend. He was ever ready to leave his prolific and enriching toil to help a baffled comrade or encourage a struggling youngster. He made money but to spend it. He gave freely and whole-heartedly and of what he had. Boucher had but one serious V weakness, the most human sin of man — the love of women. And,
76
even in this, his worst enemies admitted that no woman ever owed her downfall to him. He lived his playtime with light women. Mighty names come down to us, reverenced by us and set upon an idol's pedestal, of which we cannot say so much.
Boucher died a few months before that Christmas Eve that saw Choiseul driven from power by the du Barry, or rather by the knaves who used the vulgar but kindly girl as their tool — four years before the small-pox took the King — four years during which this same du Barry, with her precious trio, d'Aiguillon, Maupeou, and Terray, sent the members of Parliament into banishment — years that sent France rushing with laughter and riot to her doom, whilst the apathetic Louis shrugged his royal shoulders at all warnings of catastrophe, which, to give him credit, he was scarce witless or blind enough not to foresee ; nay, even admitted in his constantly affirmed cynical creed that "things, as they were, would last as long as he, and that he that came after him must shift for himself " — shrugged his no longer well-beloved shoulders, as the Pompadaur had done, repeating her cynical saying of " apres nous le deluge." — which fatuous jape the whole Court, with servile originality, echoed as its jesting catchword.
" After us the Deluge," indeed !
They were a folk most wondrous full of epigram — tossing off the spontaneous repartee in nicely chiselled phrase as lightly as a broken promise. But this one sticks like a burr upon the wisdom of the world.
Wit and ruthless fatuity were the order of the day. Most fatuous of them all was Terray — he who tinkered with finance, yielding at last, as crown to his many infamies, the scandalous " Pacte de Famille" a company to produce artificial immensity of rise in the price of corn by buying up the grain of France, exporting it, and bringing it back again for sale at vast profit — with Louis of France as considerable shareholder. Indeed, when aristocracy stoops to brokerage, it out-brokers the brokers. Had not the owners of the land the right to do what they would with their own ? Small wonder that the Well-Beloved became the Highly-Detested of the groaning people — he and his privileged class !
Yet Louis spoke unwitting prophecy. The guillotine was not for him. Four years after his First Painter to the King was laid in the grave, the small-pox took his majesty's distempered body, " already a mass of corruption," that was hastily thrust into a coffin and hurried without pomp or circumstance or honours to St. Denis and buried amongst the bones of the ancient Kings of his race, unattended by the Court, and amidst the contempt and curses of his people.
The scandalous levity and ruthless vindictiveness of the privileged class of the day had near done their work. A proud and gallant and a noble people touched bottom in humiliation. The race began to see that if it should hope to rid itself of its ancient impeding robes of state, even in rags, it must wholly cast its garment from it, even though it bared its soul naked to the elements. It girded up its
77
strength to do the ugly business, though it should fling away its life in the doing. The French have ever been famed for their courage and their logic. The pens of the wits and thinkers did the rest. Amongst a people wholly scandalised and punished by the corruption and social disorder of their governors, the " new opinions " made astounding and alarming progress. The " intellectuals " were all on the side of the people — Montesquieu, Voltaire, Diderot, Rousseau, d'Alembert, Helvetius, Condillac, the abbe Raynal — with wit, sarcasm, invective, argument ; with stirring of passions ; with appeals to self-respect and dignity and honour and the innate love of freedom of the strong man ; with appeals to common-sense, to the guiding laws and craving for liberty of man's being, to the rights of separate individual existence, they sent their wit and wisdom into the uttermost corners of France through the printing-press. They sneered away false aristocracy, false religion. They wrought to overthrow the old order ; brought it into contempt ; and slew it. And, with it, Boucher's art, like much that was gracious and good and beautiful in the evil thing, went down also, and was overwhelmed for a while.
For awhile only. For, just as out of the blood and terror of the Revolution a real and live France arose, phoenix-wise, and, in being born, whilst putting off the vilenesses of the body out of which she was born, took on also the gracious and winsome habits that place her amongst the most fascinating peoples of the ages ; so Boucher is coming into his kingdom again — the most gracious of painters that the world has ever known.
When Boucher passed away, the generation of which he was the limner was near come to its violent end. The greatest of his pupils, Honore Fragonard, was destined to live through the supreme agony of all that had inspired his master. Poor bewildered Fragonard is to see the rosy carnivals and the pretty dreams of gallantry give way to the bloody realities and fierce tern pest of the mighty romance of the French Revolution — see the garrets of the old curiosity- shops receive the despised canvases of his beloved master — the Romans of David put to rout the shepherds and shepherdesses in silk and satin and velvet.
The old palace of the princes of Soubise knows its lords no longer. It is now the museum of the national archives. Several canvases by Boucher still hang over the doors where he set them. Two Pastorals look down upon the room where Marie Antoinette's last letter may be read ; in the room where Love listens to the lessons of Mercury, are the arrests of the revolutionary tribunal, the requisitions of Fouquier-Tinville for the escort of those condemned to death, the judgment committing twenty-two Girondin deputies to the guillotine which is signed with the name of David, decrees on which appears the name of Bonaparte.
In the France of Louis Quinze, feudalism had arrived at its ex- treme point of civilisation. It had achieved its ideal of social life in all its outer refinement, in all its outer grace, in all its most exquisite delicacy. Its rude realities were buried in an elegant
78
corruption. Manners had created a polished society that lived its life in a formal and dandified etiquette which forbade the mention ' — of any rude facts of life — the indecencies became almost a virtue in the subtlety of their statement. A solecism the only sin. Only " the coarsely done or roughly stated reality was the unforgivable act. An honest sentiment was a banality— a foolish sentimentality. The obvious a vulgar crudity. So this century, seen at a glance and in^- its outward seeming, was full of gaiety and light airs and balmy breezes ; jocund with a polished jocundity, that stepped it sedately to the measure of a gavotte, laughing gaily, setting aside all serious cares, essaying to banish under light raillery a load of discourage- ment, of wretchedness, of unrest, of doubt, of languour, of a biting melancholy that surges up through the eternal game of wit. The heart is shrivelled to feed the glittering brain — and a shrivelled heart being a grizzly thing, smother it in flowers. Under the skipping feet the ground sounds hollow; and none dare's to dig where that hollowness is, lest he find nothing but nothingness.
The richer we are, the more intellectually subtle, lacking the great heart, the more hollow and void is this nothingness. The old noblesse found it in the seventeen-hundreds as the great plutocracy are finding it to-day.
Boucher's art holds the significance of his age in astounding ^ fashion. Nothing could more closely define the vast gulf that lay between the outworn, weary, and decaying aristocracy of France allied with a reactionary, narrow, and selfish church, and wedded to an unscrupulous wealth-seeking plutocracy on the one hand, and the real France of dogged self-respecting toil, supported and championed by intellect and sincerity on the other. Of the travail and bitter suffering of the real France of Boucher's day there is no shadow of a hint. We have but the gracious and picturesque side of the old romantic Feudal France in decay — a make-believe France playing at being feudal, seizing the privileges, shirking the duties of feudalism — that lordly France that had lost all but its traditions and its perquisites and the simple courage that she has never lost, tried as it was to be by fire in the awful years of the Terror, close at hand. The fantastic honour that saw dishonour in cheating at cards and whipped out the sword to punish the accusation, but never hesitated to cheat a woman. Yet it had its handsome side, even in its sinnings. Throughout all these years, of the men in power, two alone were but accused, and that in vilest slander, of stooping to the secret and foul villainy of the Italians of the Ren- aissance— Maurepas of poisoning the Chateauroux ; Choiseul of poisoning the Dauphin. But with all their faults, the sinners of the age of Louis Quinze were rakes, not assassins. Caylus summed up his generation in his witty acquittal of Maurepas when, with contempt, he said that " he was even more incapable of crime than of virtue." They had something of the gentleman even in their cups; something of romance even in their sins ; something of vile weakness rather than of crime even in the sorry acts wherein they stooped so low as to smile and shrug upon the dishonouring of their womenkind.
79
The atmosphere in which they passed their dandified day is set I- upon Boucher's canvases — and they died with a smile, as though they walked to death in the pleasant prospect of one of Boucher's Pastorals. They detested a scene, picked their steps past the sordid things of life that wore rags, and turned their backs upon all violent passions, whether honest angers or shrewish violences. They allowed nothing gross to come between them and their " nobility." Against all their paltry life and their shameless follies, it stands ever to their honour that if they did not know how to live, they at least knew how to die. They could look down with contempt at canaille like the du Barry shrieking and tearing at her prison-bars, and flinging to the jailors the names of those that tried to screen her, in the hopes of saving her own life. They wiped out something of the ghastly blot upon the splendid escutcheon of their race the day they arose from the foul litter of their prisons during the Terror, and, in answer to the coarse summons of the uncouth roll-call of their rude jailors, stepped out with a smile upon their lips to go to their doom as though they strutted into one of Boucher's pleasant landscapes, unshrinking, unafraid, without a whimper, reckless of everything except the loss of their fantastic honour.
so
PORTRAIT OF I3OUCHER.
From the Engraving by Carmona, after Riislhi.
81
MME. DE POMPADOUR (Victoria and Albert Museum).
Photo. Mansell &• Co.
MME. DE POMPADOUR (Wallace Collection.)
Photo. Mausell &• Co.
83
10
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w
84
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LE COUCHKR DE VENUS (CliartrfS Museum)
Photo. Levy
THE RISING 0V VENUS (C/iartres Musei.ni)
Photo. Levy
87
I.OVK, THK P.IRD-CATCHKR (Collfctiiiti of Mr. Alfred tie Rnthscliihl\
88
LOVK, THE VINTAGKR (Collection of Mr. Alfred
Rutlisfhil I)
89
U
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90
ID
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91
LA BERGERE ECOUTIiE (Mine. Besnard's Collection)
VENTS DEMANDING ARMS FOR ACNEAS FROM VULCAN (Lour re)
BIRTH AND TRIUMPH OF VENUS (Collection of Mr. Alfred tie Rothschild)
94
THE TOILET OF VENUS
(Collection uf Mr. Alfred At Rothsthild)
THE MUSE OF PAINTING (Glasgow Gallery)
Photo. Hanfstaengl
MME. DE POMPADOUR (Versailles)
Photo. Neiirdccn
97
BIRDCATCHERR (I. a Chasse) From ait engraving by J . F. Branvarlct In the possession of Messrs. Ma^gs Brothers
98
THE I'KF.TTY KITCHKN-MAII) (La Belle Cltisillierc)
From an Kn^rui'ing by P. Aniline In the possession of Messrs. Maggs ISrothas
CUPID CAPTIVE (Wallace Collection) Photo. Alansell & Co.
VENUS AND MARS SURPRISED BY VULCAN (Wallace Collection) Photo. Mansell &• Co.
100
THE JUDGMENT OF PARIS (Wallace Collection) Photo. Manscll &• Co.
VENUS AND VULCAN (Wallace Collection) Photo. Manscll (~ Co.
101
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Cl'PIDS ON CI.Ot'DS
(l-'roiu a Drawing in tin- British Museum}
102
SKETCH 1)1 A Ct I'll)
(Frniii n Dr. living in i lit- Ilritisli Museum)
103
Hk*
THE LITTI.F. I I.UTE PLAYER (C/mrtres Museum)
Photo. Levy
104
SOAI' BUBBLES (£1,420 at Comtc dc Bryas Sale , 190;>
105
Cl'l'll), WITH (iRAl'KS From an Engraving by Demarteau In the possession of Messrs. Muggs Brothers.
106
THE ALTAR OF FRIENDSHIP From an Engraving by Dcmartcau In the possession of Messrs Maggs Brothers.
107
THE INFANT CHRIST AND ST. JOHN (In the Collection of Baron d'Erlangcr)
108
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109
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cri'ins \\nii I'.MIU I'.MS or THF.IK CUI.T (I'ictoiia and Albert Museum)
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CHILD STUDY /« Sanguine
(Mr. Rouiaine Walker's Collection)
110
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'THE LADY WITH TIU-: IAN (tViisef National, Stockholm)
111
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112
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114
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115
VKNUS DISARMING I.OVK
(Collection o) Mr. Alfred dc Rothschild)
116
THE THRKE GRACES (Louvre) Photo. Neunleen
117
A PASTORAL (Wallace Collection)
Phulo, l(lanscll & Co.
118
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119
VENTS AND CL'l'IU Drawing ill Crayon, heightened with White and Sanguine (£Jti4 at Beurdclcy Sale in 1<M5)
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121
\VATKKMII. I. AT CIIARENTON
(£1000 at Lelotig Kale, 190.1)
CUPID SUBJECT
122
123
THE SETTING OK THE Sl'N (Wallace Collection)
Photo. Mansfll & Co.
124
NEPTUNE AND AMYONE (VcrsailUs)
Photo. Manscll & Co.
CilKI. WITH A DOVF. (.Mr. (',. llarland-l\ , k's Collection)
I-ISHING (Clt. Scdelmeycr Collection]
126
127
PASTORAL
(Ch. Seiielmeyer Collection)
128
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129
VULCAN PRESENTING ARMS TO VENTS (Louvre)
Photo. Livy
THE lilKTH 01 HACCHTS
(Collfftinii of M. If liai-ini Edmund de Rothschild)
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CIIIM-SK F1SHF.KS
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VENUS AND VULCAN (Versailles)
o. Ncurdeen
#£.>• ,• •',.. V-JfcvvO
THK ARTIST
(Collection of M. Lion Ilonnal)
1'SYCHK's SISIKRS /!,\ini'ci!s Tapesti-v after liniifher (£12,000 ai Cnmier Salt-, 1005)
THE BASKKT-MAKER Heaiirais Tapestry afttr liiiuclirr (^4,200 at Cronier Salt' in 1905)
KISIIIN(, Heaiivuis Tapestry nftfr Binicher (/4,o8o at Cronier Solemn 1905)
HORKAS AM) ORITHYIA linllcllfr TilfifStry I /'=,, I<OO til Lclflllg Sale ill 190 .(
SL'MMKR, OR RUSTIC PLEASURES Btauvais Tnf>fstrv afte |/5,ooo at Cronier Sale, 1905)
137
PSYCHE ARANDOM.n Iliinclifr
(/ j,^.|O at Ci'onit'r .Sd/<-, KK1^!
LE MAGXIl-'IQUE From an Engraving by De Larnifsshi In the possession of Messrs. Mnggs Brothers
138
LA MARCIIANDE DE MODES (Miisec National, Stockholm)
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From a Drawing in the British Mnsfi
140
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THE ARTIST
(Collection of M. Ic Baron Edmonti tic Rothschild)
144
A Record of the Principal Pictures and Drawings by Francois Boucher Sold by Auction in England and on the Continent from 1745 to 1908. By W. G. Menzies.
Year.
1748.
1759-
ii 1762.
1764. 1766.
1767.
1769.
1770.
|
PAINTINGS. |
||
|
Title. Method. |
Size and Shape. Sale. Remarks. |
Price. |
|
£ s. d. |
||
|
Venus asleep, with |
||
|
Cupid in the fore- |
||
|
ground ... ... oil |
De la Roque |
040 |
|
Landscape, with ruins |
||
|
and figures , |
Angran de Fon- |
|
|
pertuis |
800 |
|
|
The Departure of |
||
|
Jacob |
20 x 16 Comte de Vence |
8 17 6 |
|
Shepherds at a Foun- |
||
|
tain ... ... |
26 x 22 ,, ,, |
7 17 6 |
|
Landscape, a bridge |
||
|
surmounted by a dove- |
||
|
cot, with river and |
||
|
Fisherman |
GaillarddeGagny Engraved by Chedel, |
|
|
under the title of " La |
||
|
The Birth, and Death |
Colombier "... |
3 17 6 |
|
of Adonis ... |
Lalive de Jully... pair |
40 16 6 |
|
The Sacrifice of Gideon |
19 x i2j |
30 o o |
|
The Rise of Apollo |
Mme de Pompa- |
|
|
dour The God is ready to |
||
|
mount his chariot |
||
|
surrounded by naides, |
||
|
one of whom presents |
||
|
The Retirement of |
her lyre |
. 392 o o |
|
Apollo |
,, ,, The God descends from |
|
|
his chariot to meet |
||
|
Tethys |
||
|
pair ; |
||
|
The Nativity |
64 x 47 , , ,, Engraved by Fessard |
|
|
under the title of |
||
|
"La Lumiere du |
||
|
Monde |
28 17 6 |
|
|
Noah in the Ark with |
||
|
the animals.... ... ,, |
Julienne pair |
47 12 o |
|
Noah offering a Sacri- |
||
|
fice at the setting out |
||
|
from the Ark. |
||
|
Cassandra before the |
||
|
statue of Minerva |
16 X 21 ,, |
IO IO O |
|
A woman holding a |
||
|
book in her left hand ,, |
— ... — |
800 |
|
Bust of a Beautiful |
||
|
Woman, holding a |
||
|
basket of flowers ... ,, |
three quar- |
900 |
|
ter length |
||
|
The Nativity grisaille |
Cayeux Sketch on panel |
I 6 6 |
|
Landscape, with figures |
||
|
and animals oil |
... — ,i ... |
12 0 0 |
|
An Inn ... ... ... ,, |
„ panel |
i 13 6 |
|
Rural Amusements |
oval — pair |
56 o o |
Pastoral Music.
145
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year.
1771.
1772. 1773-
1774. 1775-
1776. 1777.
Title.
Two winged children one holding a bunch of roses which the other waters ...
The Adoration of the Shepherds
The Adoration of the
Kings The Presentation at the
Temple
The Rape of Orithia
by Boreas Pygmalion in love with
his Statue
Landscape from the
Door of a Cottage ...
Method. Size and Shape.
Sale.
see remarks ...
grisaille a 1'huile
oil
grisaille oil
Boucher... 16 X 16
18 x 15 ,,
13 x 18
13 x 10
13 x 8
18 x 24 Lauragais
Cattle market, with numerous figures
Children Blowing Soap Bubbles
The Birth of Venus ...
Landscapes
Pastoral, Shepherd playing a flute seated beside a Shepherdess
A Dutch Inn sur- rounded by rocks before which is a horse and carriage ...
Woman in a chemise seated on a bed caress- ing a cat
Rebecca receiving the presents from Abra- ham's servants
Two women at their Toilet ...
Pastoral
A Fable
Gardens of Caprarole
Falls of Sextus
The Small Cascade of Tivoli
Small Ruined Colon- nade ...
View of the Villa Farnese
View of a Mill near Rome
Landscape
19 x 16 Lempereur
21 x 44 nj x I4j Jacqmin...
Comte du Barry
| x J7i De Grammont ... Sorbet
Blondel de Gagny
gj x 15 Randon de Bois- oval set
all
7x4
Remark*.
Grisaille a 1'huile, in imitation of a wash drawing in bistre, heightened with white
On paper
Painted on paper
A man looks at three bathers, one has her legs in the water, and is bending to seize a goose
pair
A Woman Meditating
The Nativity
The Nativity
Syrinx pursued by the God Pan takes refuge in the arms of Ledon
Alpheus pursuing Are- tbusa who takes refuge in the arms of Diana
Hercules and Omphale
The Sacrifice of Gideon
grisaille
oil
9 x i2j
•, circular
I3j x 10} ,, ,,
47 x 31 Prince de Conti
In the centre a river crossed by a wooden bridge, a young girl looks at her reflection in the water ...
Study for above
pair
Prico.
£ s. d.
6 8
II O O
14 o o
II IO O
740
6 16 o
36 o o
14 o o
3 10 o
19 4 o
28 o o
24 o o
|
Three figure com- position |
32 |
o |
o |
|
A young girl is look- ing at her and a man is looking through a curtain Twelve figures |
28 49 |
o 4 |
0 0 |
|
pair |
5° 47 48 |
o 4 o |
O • 0 |
216 o o
27 5 o
30 8 o
32 o o
10 10 o
64 10 o
153 10 o So 10 o
146
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title. Method. Size and Shape. Sale. Remarks. Price.
1777. Diana and Endymion oil 17! x 22} Prince de Conti 30 o o
,. Landscape, with
figures, cattle and
Poultry „ 28 l6 0
,, Landscape, with a
bather... 13 4 o
Group of women
sleeping , ,, Cupid is looking at them
through a curtain ... 5 10 o
,, Diana Caressing one of
her Nymphs ,, „ ... _ 78 10 o
1778. A Woman Meditating ,, Mme. de Cosse... 24 o o
Hercules and Omphale 9} x lof Paris, Nov. 3Oth 1800
,, Lady taking a cup of
Chocolate ,, 2 14 o
, , Rebecca receiving pre- sents from Abraham's servants Le Brun 49 12 o
,, Landscape, with river , Silvestre 7 13 6
,, Young Shepherdess, standing, holding a rose, her knee on an open cage, a Shepherd hands her a flower ... ,, ... ... 20 16 o
., Shepherds at a Foun- tain ... ... ... ,. ... ... Bourlat de Mon-
„ The Departure of tredor... ... 34 16 o
Jacob 8 x 6J Nogaret 6 17 6
1779. Interior of a Farm 13$ x 18 Trouart Copy of a picture by
1780. Venus demanding Arms Wouvermans... ... 28 o o
from Vulcan 43 x 32 Chardin 16 16 o
,, The Repose of Venus.
The goddess sleeps on
a bed, with cupid
asleep near her ... ,, Proult 48 8 o
,, A Shepherd sleeping
near a Shepherdess
who decorates him
with flowers Marquis de Cham- grand Engraved by Aliamet
„ Jupiter takes the shape under the title of "La
of Diana to surprise bergere prevoyante " 26 o o
Calisto oval Le Roy Landscape 52 5 o
1781. Cupid persuading
Venus to give up her girdle to secure the Golden Apple Sireuil pair 956
The Judgment of Paris
The Old Man's Cal- endar grisaille ... , Three figure composition i o o
1782. The Toilet of Venus... oil Marquis de
Menars ... The Goddess is sur-
rounded by gamboll-
,, A Young Woman nude, ing Cupids 23 10 o
reposing on a bed ... ... ,, ... 24 o o
,, The River Scamandre ,, ... ... ,, ... Subject represented by
a nude woman, sur- prised 9120
,, Pastoral Landscape ... , „ ... 32 o o
,, Venus at the Bath ,, ... She holds her son in her
arms 24 5 o
,, Venus disarming Cupid ,, ... Venus is on a cloud and
,, Two Young Girls seated Cupid begs for the
on the grass attaching return of his arms ... 29 4 o
a letter to the neck of
a pigeon ,, ... 19 5 o
,, The Seasons , ., ... set of four 56 o o
1783. The Repose of Venus
and Cupid ... ... ,, 28$ x 2oJ Blondel d' Azin-
court Cupid, while Venus
sleeps, plays with the pigeons of her chariot. Landscape 27 5 o
147
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year.
1783-
Title.
Method.
1784.
1785. 1786.
1787.
1789. 1790.
1791.
1793. 1802.
1808.
1809.
1810. 1817. 1822.
Size and Shape.
Sale.
The Repose of Diana after the Chase ... oil
Pretty Peasant and Child ,,
Young Shepherdess and Child
A Luncheon
A Country Ball
Cupid surrounded by
Children sleeping and playing with grapes... Landscape
Sketch
Landscape
Two Nymphs leaving
the Bath surprised by
a Satyr
Young Woman nude,
reposing on a bed ... Two Women at their
Toilet ...
grisaille oil
oil
Two Naiades surprised by a Faun
Syrinx pursued by the God Pan takes refuge in the arms of Ledon
Alpheus pursuing Are- thusa, who takes refuge in arms of Diana ...
Hercules and Oraphale
The Seasons
The Painter's Studio...
Interior of a Garden...
A Cottage
Mountainous Landscape
Landscape with Cottage and Figures
The Toilet of Venus ...
The Graces Binding Love ...
Jupiter and Calypso ...
Bacchus and Ariadne
Shepherdess Embraced by her Lover
Shepherd seated by a Shepherdess, to whom he presents a bird
The Triumph of Venus and Neptune
Rebecca receiving the presents of Eliezer ...
Two Shepherdesses ...
The Wooden Bridge ...
Virgin and Child
Eliezer offering Jewel- lery to Rebecca on behalf of Abraham. The Pilgrims of Emmaus
Rebecca receiving pre- sents from Abraham's Servant ,,
Joseph presenting his Family to Pharaoh
Venus on a cloud with Cupid... ...
The Little Wooden Bridge oil
Landscape ... ... ,
The Flageolet Player... „
grisaille oil
sketch...
26 x 20 Blondel d' Azin- court ...
22 x 15
23 x 30
20 X 24
oval
x 40
9 X lof
oval 19 X 15
circular 9x6
Montulte De Billy...
Dubois ... Godefroy
Aubert ...
Remarks.
companion to the pre- ceding...
Landscape in back- ground. Sketches. Pair
pair
pair
pastoral subject with
figures...
with over twenty figures pastoral with figures ...
Vandreuil Beaujon ... Collet ...
Boullongne
Parizeau... Marin
pair
pair
set of four
panel
pair
3° X 36
25 x 30 40 x 30
oval oval
Le Brun...
Choiseul-Praslin De Laujac
26 x 27 St. Aubin
pair
pair
15 X I3i Le Rouge 21 x 27 PreVost ... Simon ... — St. Victor
... 12 figures
Price. £ ». d
16 6 6
to 10 o
12 15 O
8 16 o
1600
55° 1600
26 o o
28 o o
28 o o
26 8 o
30 o o
36 o o
36 10 o
IO IO O
20 o o
i ii 6
426
18 8 o
31 o o
16 10 o
1600
200
49 12 o
12 17 6
o 10 o
046
49 12 o 066 060
O IO O
0 17 6
1 12 6
148
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title. Method. Size and Shape. Sale. Remarks. Price.
£ s. d. 1822. Virgin and Child ... oil St. Victor ... 23 o o
1827. The Surprised Lovers... ,, ... ... Paris, Dec. 26 ... 20 16 o
1828. An Artist at his Easel
painting a Landscape , 12} x 16 Le Moyne ... 48 16 o
1833. Nude children playing
with a Goat , 9f x loj pair 5 12 o
Children playing with
Birds. 1836. A woman, a child, and
an old man De Brusle ... 8 16 o
„ Portrait of the Comte
de Provence ,, ,, ... full length 680
1838. Two Young Girls sur-
prised by a Shepherd ,, Perier 31 4 o
1839. Two young men making
music to a young girl
in a garden Paris, March and 21 5 o
1841. Two Bacchantes asleep
in an Arbour Paris, Deer. 16... 60 o o
1 842 . Two young men making
music to a young girl
in a garden , Harcourt ... 28 17 6
1843. The Birth of Bacchus ,, F£rier pair 112 16 o
The Rape of Europa...
,, The Triumph of Galatea , ,, n 8 o
1844. The Dove Cot Baron d'lvry ... 324 o o
The Fete of the Shep- herds and the Laun- dresses , ,, ,, • ... 32°o o o
1845. The Return to the Farm ,, Vasserot 32 8 o
,, Bathers i8J x 26 Meffre 53 12 o
,, Eliezer and Rebecca ... ,, ... ... ,, ... ... n o o
,, Terpischore seated on
a Cloud ... ... ... Gypierre ... Semi-nude, holding a
drum ; a Cupid brings
her garlands of flowers 31 10 o
,, Euterpe , 4 I7 6
,, Nude woman asleep ... , n 12 o
,, The Nymph Syrinx pursued by the God Pan, takes refuge among the roses ... ,, ,, 36 o o
1846. The Toilet of Venus Stevens pair 55°
Venus and Cupid
„ Cupids on Clouds, two quarreling over a Dove Brunet-Denon ... 18 8 o
„ Diana at the Bath, sur- prised by Actaeon ... sketch Saint 8 13 6
„ Landscape, a Foot- bridge across a river oil ,, 75°
1847. Shepherdesses seated,
weaving floral crowns, near them a Shepherd plays a flute , Rossi 58 J3 °
1850. The Toilet of Venus ... „ Paris, Jany. 1 8th to 16 o
„ Nymphs bathing 23^ x 2o| Schweling ... 42 o o
,, Young woman raising
her veil with her right
hand 30 x 24^ Thielens : Brussels 200
1851. Diana , Narbonne ... 126 o o
Diana leaving the Bath , ,, M4 ° °
,, The Love of Venus and
Vulcan Prousteau ... Set of four mytholo-
Venus and Cupids ... gical subjects ... 424 o o
Mars and Venus Judgment of Paris
Diana and Calisto oval „ pair 130 o o
Venus and Adonis
The Watermill Picturesque landscape 132 o o
1852. Four pictures Due de Richelieu 620 o o
Pastoral Scenes Two large subjects ... 504 o o
149
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year Title. Method. Size and Shape. Sale. Remarks. Price.
£ a. d.
1852. Four over-doors ... oil 216 o o
1853. The Nymph Syrinx,
pursued by the God
Pan, takes refuge
among the roses ... ,, Vente G. de M. 48 o o
,, Terpischore seated on
clouds receives gar- lands of flowers from
Cupid ., .. ••• 4° 1° o
,, Diana and Endymion ,, ... ... ,, 36 o o
,, Diana looking at
Endymion Dugtere 500
1854. The Four Seasons 32j x 66 Gentil de Cha- Pastoral scenes with
vagnac ... figures 408 o o
„ Jupiter and Calisto , ,, pair 113 o o
Cephalus and Procris
1855. Daphne and Chloe Devize 10 8 o
„ The Rising of Apollo 118 x 58 Baron Comailles pair 808 o o
The Return of Apollo
1856. The Triumph of Venus Barroilhet ... ceiling 120 o o
Jupiter and Calisto Paris, Feb. 19 ... 120 o o
1857. Jupiter and Calisto d'Armagnac ... 120 o o
,, The Picnic , Paris, Mar. 20 ... pair 268 o o
The Alfresco Dance ,, Springtime ; and
Autumn 36 x 50 Patureau ... pair, in the form of
medallions 380 o o
1858. The Mill at Charenton Febvre pair 28 o o
Le Petit Trianon
,, Beauty intoxicating
Love , Pillot 30 o o
,, Four overdoors ... ... ,, ... ... 28 16 o
,, Cupids Gathering
Grapes Ferol 36 5 o
,, Marquise de Pompa- dour, in yellow silk dress , Ve'ron 84 o o
1859. Two Cupids sleeping ;
and Companion Deverre 12 5 o
,, Shepherdess Sleeping ,, ... ... ,, ... ... pair ... ... ... 44 12 o
Confidences ,, Swiss Milkmaid 9x7 St. Marc ... 3 10 o
Cupids Rattier pair 32 o o
1860. , Culling Eardley, Two large pictures
London ... painted for Louis XV.
in 1748 1250 o o
,, Leda and the Swan Dhane de Steen-
huyse ... ... 120 o o
Pastoral Lord Seymour ... 320 o o
Village Courtship oval ,, 164 o o
Mme. de Pompadour ... ... Richard... ... 20 o o
Music 30 x 37i Barroilhet ... n 12 o
The Pretty Sleeper ... ... 18 x 24 ,, ... 24 o o
1861. The Young Shep-
herdess Montbrun ... pair 62 10 o
The Young Shepherd
,, Country Scene ... ... Dubois ... ... 42 o o
,, Venus and Cupid in
a chariot on clouds ... ,, 44$ x 36J Rhone 102 o o
,, Large Landscape with
Ruins... ... ... ... 40 o o
,, Mme. de Pompadour ... ... 40 o o
1862. Portrait of a young
Girl , Due de Villars ... — 95°
The Gallant Shepherd 1
The Fishermen } 34 ° °
„ Venus disarming Cupid Earl Pembroke... The goddess is seated
on clouds and Cupid with hands together begs for the return of
his quiver 160 10 o
,, Mme. du Barri ... ... f> (l ... 32 o o
,, Pastoral Scene , — — 208 o o
150
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title. Method.
1862. Young woman dressing
a young man oil
Size and Shape.
Sale.
— Bonvoisin
Remarks.
Subject from La Fon- taine's Fables
,, Head of Christ
Crowned with Thorns ,
,, Cupids and Chiraeres ... ... — ... overdoor
1863. Pastoral Souty —
,, Pastoral Landscape ... ... — „ ... ...
,, Two Lovers — ,, —
„ Four Pastoral Sub- jects ... ... ... ,, ... ... — t) ... ... —
Bathers , Meffre —
The Judgment of Paris Voisin
Four overdoors ... ... — If ... ... —
Four overdoors ... , \ —
Love and Youth 2ijxi8i Gilkinet
,, Cupids playing with a
dove Soret
,, Marie Leczinska ... ,, ... ... Morland London
,, Six miniatures... ... ... —
„ Nymph sleeping
,, The Happy Parrot ... ,,
" Group of Lovers
1864. The Little Fishermen — Marquis de St.
Cloud
,, Birds — Nesting ... , ,, ,,
,, Springtime , ,. .,
,. The Adoration of the
Shepherds 73x54 Paris, March 24.
1865. Portrait of Mme de
Pompadour in the
Artists' Studio ... , Alexandre Dumas
,, A Scene from the opera
"The Puritans" 25jxi3f Comte de Pour- tales
,, An Artist at his easel,
painting a landscape ,, ... ... ,, ,,
,, The Little Messenger ,, ... ... Tondu
,, Cupid engraving an
escutcheon ... ... ... ,,
,, Cupid and the Graces 558x72 Due de Morny ...
1866. Diana leaving her Bath ,, Cuyck
1867. Portrait of Louis
Philippe - Joseph Egalite at the age of two years ... ... ,, ... ... 35jX28f Laperlier
, . The Marriage of Cupid
and Psyche 37JX52
The Genius of Child- hood i6Jxi3j ,
The Genius of Youth i6jxi3jj ,
1868. The Studio of the
Painter I5jxi3j Khalil-Bey
„ The Bathers 18x254
„ Mile B oval
,, Fishing oval Horsin-Deon ...
30^x24
,, The Boatman oval „
28 x 27j
The Awakening 34x30 Comte de C
,, Four Overdoors 43^x40 ,, ,,
,, Marquisede Pompadour 84! x 104! Henry Didier ... Full length Portrait
The Birth of Adonis ... , ,, ,. ... Pair
The Death of Adonis ,,
The Little Shepherds 14x11! ,,
., Flowers and Fruit ... , 50x34 ,,
,, Cupids holding Doves 18x36! ,, ,,
,, The Painter and his
Family I3jxio December 5th ...
,. The Poet I3jxio ,.
The Statuary I3ixio ,.
,, Cupid's Geometry »
., The Bridge 22ixi7joval „
Price. £ ». d.
II 12 O
210 25°
36 5 o
34 I0 ° 4 10 o
26 10 o
53 « ° 26 o o
28 16 o
29 5 o 62 o o
IO IO
233 5
40 8 o
20 o o
96 o o
6 10 o
16 16 o
13 5 o 2150
600 o o
280 o o
140 16 o
5 12 o
760 o o
144 o o
62 io o
420 o o
47 5 o
50 o o
560 o o
58 o o
39 o o
50 10 o
88 16 o
12 O O
4 16 o
1120 o o
164 o o
52 16 o
200 o o
29 5 o
32 16 o
18 5 o 27 4 o 16 10 o
19 12 O
151
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. 1868.
M
1870.
1872.
I873-
I874.
I873.
1876. 1877.
|
Title. Method. |
Size and Shape. Sale. Remarki |
Price. |
|
£. ». d. |
||
|
Pan pursuing Syrinx... |
20X24 |
22 10 O |
|
Cupid the Painter ... oil |
Delamarre ... pair |
31 o o |
|
Cupid the Historian ... |
||
|
Music ... ... ... ,, |
4°i x jij Maillet pair |
364 o o |
|
Painting |
||
|
The Toilet of Venus |
50 J x 58^ San Donato |
920 o o |
|
Venus and Cupid |
48 x 52 |
408 o o |
|
The Springtime of Love „ |
44 x 47^ |
324 o o |
|
The Autumn of Love... ,, |
44 X 47^ |
336 o o |
|
Bacchante in Frenzy... ,, |
6oJ x 34^ ,, |
480 o o |
|
Nymph gathering |
||
|
Flowers ... ... ,, |
6gJ x 34^ |
244 o o |
|
Young Girl supplicating |
||
|
Love ... ... ... ,, |
7° x 32 |
2OOO O O |
|
Painting „ |
28f X 22§ |
2OO O O |
|
oval |
||
|
Sculpture ,, |
28f X 22f |
22O 0 0 |
|
oval |
||
|
Poetry , |
28f X 22f ,, |
280 o o |
|
oval |
||
|
Music ... ... ... ,, |
28J X 22| |
264 o o |
|
oval |
||
|
Venus on the Water |
25^ x 38$ MarquisduBlaisel |
40 15 o |
|
Venus asleep |
42 x 36} „ ,. ... |
2iO O O |
|
A young girl reclining at |
oval |
|
|
the foot of a tree hold- |
||
|
ing a letter in her hand ,, |
Otto Mundler ... A young Shepherd peeps |
240 o o |
|
from behind a tree and |
||
|
Fishing — A girl and |
watches her reading |
|
|
boy fishing ... ... „ |
... M I, •.« |
80 16 o |
|
Love's Confidences |
Montesquiou- |
|
|
Fezensac |
326 o o |
|
|
Pastoral Subjects ... ,, |
10 x 28 ,, Four panels |
1088 o o |
|
Jupiter and Calisto ... „ |
Canot |
68 o o |
|
Venus and Cupid |
54 x 66 Pereire ... |
504 o o |
|
The Favourite Sheep, |
||
|
or The Messenger ... ,, |
32} x 29! |
360 o o |
|
Rosebuds and Bird ... ,, |
36 x 28J |
360 o o |
|
Portrait of a child in a |
||
|
Cope, London ... |
913 o o |
|
|
Musical Rivalry ... ,, |
Harcourt |
28 17 6 |
|
Cupids , |
36J x 34 March 15. |
80 o o |
|
The Young Mother ... ,, |
I3j x gi |
48 5 o |
|
Jupiter and Calisto ... „ |
64 x 56 Baron de Forest |
380 o o |
|
The Little Milkmaid ... ,, |
16 x 12 „ ,, |
152 o o |
|
Clytie transformed into |
||
|
a Sunflower ... ... ,, |
M. D. de L. ... |
3° 5 ° |
|
Arion ... ... ... ,, |
45| x 52^ Marquis de la |
|
|
Rochebousseau |
232 o o |
|
|
Pastoral |
15! x nj „ |
80 16 o |
|
Pastoral |
192 o o |
|
|
Venus asleep ... ... „ Shepherds andVillagers |
MarquisduBlaisel |
248 o o |
|
in a landscape ... „ |
Didot |
i 5 o |
|
Groups of children, in |
||
|
floral borders ... ,, |
Alexander Barker, |
|
|
London ... Set of 8 panels |
6350 o o |
|
|
The Rustic Kitchen ... „ |
23} x 20 Guichardot |
12 0 0 |
|
The Virgin and Joseph |
||
|
looking at the Infant |
||
|
Jesus sleeping |
oval 8iin. , on copper |
o 13 6 |
|
diam. |
||
|
Cupids shooting arrows oil |
Baron Thibou ... pair |
584 o o |
|
Cupids sleeping |
||
|
Three Cupids playing |
||
|
on clouds |
164 o o |
|
|
Mythological Subjects ,, |
fff — |
So o o |
|
The Awakening ... ,, |
32j x 52 Marcille |
284 o o |
|
Psyche , |
i?i x 2iJ ,, pair |
440 o o |
|
The Concert |
||
|
Diana and Venus ... ,, |
35j x 27} |
28 10 o |
|
The Little Bird- |
||
|
38 x 60 Mme. Brooks ... — |
60 o o |
152
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year.
1877.
Title. The Band
Method. Size and Shape. Sale.
oil 32! x 48 Mme. Brooks
Remarks.
Price. £ «• d
Set of three Chinese
subjects 268 0 0
Fishing 39! x 28
The Cup of Tea ... ,, 37j x 26
,, Cupids D'Imecourt ... 84 o o
,. The Masque Munro, London — II5 I5 0
,, Little Peasant Feeding
Chickens Oct. n 23 IO o
1878. Woman Sleeping „ I20 o o
„ The Departure for
Market , 25 5 o
Young Girl carrying
fruit Baron D. ... 52 lo o
1880. The Masque ... ... ... Lionel Lawson,
London ... ij*r 10 o
1881. Venus Sleeping Wilson 74 o o
Jupiter and Calisto ... ,, ... ... oval Beurnonville ... 800 ,, ,,
„ The Haberdasher ,, ... 2g6 o o
„ The Charming Villager ,, 28} x 23} „ ... xjo o 0
., Head of a Cherubin 8J x 7} ,, ... 24 o o
„ Young Girl reading ... ,, 24 x 20 ,, ... 76 o o
,, Young Woman 14^ x 12 ,, ... Half figure 24 o o
oval
Nymphs and Cupids 5^x37} ,, ... 80 o o
,, Mme. de Pompadour 3o| x 24} ,, ... I22 o o
Love's Offering 323 x 24 ,, ... Sketch ij2 o o
Cupids Drawing ... „ 14} x 2of ., ... 48 o o
Interior grisaille ... 10 x 8 ,, ... Sketch 18 8 o
The Stream oil 24} x 20 Double 2Oo o o
The Mill ... ... ... 24! x 20 ,, ... ... Companion to above 160 16 o
1882. Expectation ... ... ... Moreau-Chaslon 140 0 o
The Toilet of Venus 50} x 58^ Febvre 860 o o
The Laundresses ... , 19} x 234 !66 o o
,, The Band 43j x 56 1284 o o
The Wedding Fan of
Marie Leczinska, wife Walker d'Uffing-
of Louis XV. ton 75 o o
,, The Toilet of Venus ... , Bojano 26 o o
„ Springtime, and the
Companion ... ... ... ,, ... ... 37 jo o
,, Autumn 35 10 o
1883 Bacchus and Cupid ... , 22 x 18} Aguado go o o
,, Nymphs and Satyrs ,, 48 16 o
„ The See-Saw ,, 32 x 58^ Beurdeley ... pair of overdoors ... 580 o o
The Game of Leap- Frog
,, The Reading Lesson 9x7 Beurnonville ... IO4 o o
„ The River Scamandre oval „ 64 o o
24 x 20
,, The Drudge 16 x i2f 2i Io o
,, Blindman's Buff ... ,, Becherel ... 28 o o
,, The Return from the
Fields... ... ... ,, ... ... i, ... pair ... ... ... 29 5 o
The Village Kitchen
„ Nymphs in a Land- scape ... ... ... ... Dec. 15 ... ... I2o o o
„ Vertumnus and Po- mona , 64^ x 68J Girardin 160 o o
Vertumnus and Po- mona ... ... ... ,, ••• ... Doat ... ... 160 o o
,, The Villagers Borniche 2810 o
, , Young Shepherdess holding a basket on
her head ,, ,, 13 10 o
1884. The Shepherds' Fete 96 x 94 Baron d'lvry ... 1600 o o
,, The Laundresses ... ,, 96 x 94 ,, 1600 o o
,. The Dove-cot , 18 x 26 ,, 164 o o
,, Venus sleeping 33j x 33! Beurnonville ... 40 o o
., The Garden March 27th ... 20 o o
1885. Mme de Chateauroux,
as a shepherdess ... ... Comte Sapia de
Lencia ... 28 16 o
,, Portrait of the Marquise
de Pompadour.as Venus ,, 42! x 34 La B^raudiere ... 5320 o o
153
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Y.ar.
Title.
Method.
Size and Shape.
Sale.
Remarks.
1885. Portrait of Louis XV. oil Burat
,, Cupids ... ... ... ... — ,, ... ... —
1887. The Fountain of Love go x 56 Pittet
,, The Rape of Europa Baron R. Portalis
,, Young girl reclining — ,, „
The Grape Gatherers 28| x 24 Salverte —
,, Young girl sleeping ... ... ,, ... ... —
La Gimblette Pair
The Spoiled Child ...
,, The Surprise , —
,, Naiades surprised by a
Faun 38 x 3oJ Sennegon
The Gatherer of Flowers ... ... ,, ... ... 40 x 31 Lord Lonsdale,
London
Mme de Pompadour 78 x 62 ., ,, Blue silk dress .
The Triumph of Aphrodite ... ... ... 98 X 100 „ ,, —
1888. Allegorical subject re-
presenting Circe with Diana seated on a cloud , 18} x 2oJ Marquis d'Houdan
1889. Venus asleep Secretan
1890. The Band , Rothan
,, Painting
,, The Mill
The Odalisque
, , The Avaricious Woman ,, Sunrise ...
The Sweet Perfume ...
,, The Muse of History London, June 22
,, Pastoral ... ... , ... ... 36! x 29! Crabbe ...
1891. Woody Landscapes ... ,, ... ... 20 x 23! Montbrison
,, A Muse ... „.
,, The Fishermen ... ,, ... ... London, Mar. 14
The Rape of Europa — Philippe Georges
d'Ay
1892. The Education of
Achilles Audouin Allegory.
,, The Little Reapers
The Little Shepherdess I — Pair
The Little Gardener J
The Little Gardener
,, Little Shepherd leaning
against a tree ... ,, ... ... —
,, The Toilet of Venus Daupias
The Band
,, Portrait of a Woman ... ,, ... ... —
Young girl standing March 28th
,, Cupid among Clouds ,,
The Muse Erato, with
Cupid Magniac, London
,, Studio Interior... ... Hulot
Group of Children rep- resenting Sculpture
,, Allegory representing
painting
1893. Bathsheba 6o| x 46 —
Gipsy Encampment May 6th
,, The Birth of Adonis ... ,, ... ... 26 x 3? Denain ... ... pair
The Death of Adonis...
The Muse of Eloquence 38! x 36 — pair
The Band
1894. Nymph Surprised Court, Marseilles
Woman lying on a bed
reading 6x8 June i6th
The Judgment of Paris grisaille ... 52} x 76} Emile Barre ...
,, Samson and Delilah ... oil 2iJ x 26 Mar. ijth
Biblical Subject ... grisaille ... Mar. i6th ... sketch ..
Young woman at her
toilet oil 274 x 22 June i6th
1895. Ruth and Boaz ... grisaille ... 14 x 17$ Lefevre, Amiens sketch .. ,, Cupids by a Fountain oil London ...
Price.
£ s. d.
400 o o
48 o o
36 16 o
20 5 o
48 o o
204 o o
80 o o
192 o o
80 o o
40 16 o
1030 o o 10395 o o
630 o o
830
340 o o
980 o o
980 o o
484 10 o
300 o o
132 o o
188 o o
156 o o
294 o o
600 o o
28 16 o
240 o o
351 o o
328 o o 80 o o
2OO O O
144 o o 82 10 o
50 o o
364 o o
324 o o
70 o o
30 o o
4 10 o
861 o o 1000 o o
I2O O O
92 o o
480 o o
699 o o
324 o o
244 o o 28 o o
5 10 o 104 o o
5 10 o
450
40 o o
6 16 o 1099 o o
154
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title. Method. Size and Shape. Sale. Remarks. Price
£ s. d.
1895. Decorative Panels ... oil London, July 13 336 o o
,, Louis xv. Kam Edouard ... 552 o o
1896. Mme. de Pompadour,
seated , London, June 6... Small whole length ... 220 15 o
. 1897. The Surprise , Montesquiou-
Fenzensac ... 64 o o
,, The Tete-a-tete ,, ,, ... 140 o o
,, The Young Bohemians „ 39 5 o
,, The Departure for
Market ,, ,, ... 70 o o
,, StudyofaNudeWoman
standing 98 o o
,, The Spinstress... ... ... ,, 30 o o
„ The Repose ... ... ... ,, 58 o o
Jupiter and Juno i2j x 14 E. Densy ... sketch for ceiling ... 12 o o
1898. Cupid as a Birdcatcher 4iJ x 47! May 7th 448 o o
,, The Environs of Beau-
vais 24 x 32 May I7th ... 78 10 o
,, Cupid as a Birdcatcher 34 x 36! Tabouriar ... 204 o o
1899. Pastoral, Girl, Musician
and Dog , 26 X 2oJ Broadwood and
Lord Seigh, ,, Portrait of Alexandrine London ... 1167 10 o
LeNormandd'Etoilles 2iJ x 18 Muhlbacher ... 3400 o o
,, Diana and two Nymphs
in a Landscape 28| x 38^ Langen, Munich 50 o o
,, Bust Portrait of a
Woman ... ... ,, ... ... 22j x i8J ,, ,, 250 o o
,, Cupids Playing 32^ x 371} Stein 820 o o
oval
,, Overdoor Baron de Reuter,
London ... 152 o o
,, Lady on a Terrace William Eden,
London ... 52 o o
1900. Flora ... ... ... ... 32j x 49^ Debrousse ... 320 o o
,, The Four Seasons ... ... Grignon Dumoulin 188 o o
,, Marie Leczinska Morland ... 220 o o
The Market of Love Spain 189 o o
„ Two overdoors Marquis of Head-
1901. The Mill, the environs fort 1600 o o
of Beauvais 17$ x 23$ J. Lassalle ... 406 o o
., Judgment of Paris ... ,, London, July 13 504 o o
1902. The Triumph of Venus , Guidi Museum,
The Departure of Rome 940 o o
Cleopatra 21 x 34 London, April 28 115 10 o
,, Portrait of a young Girl , 36 x 28 M. Miallet ... 448 o o
1903. Galatea, in a shell
carriage drawn by
Dolphins , Berlin, Feb. 14 73 o o
A Woody River Scene 23 x 28 Page Turner ... f Signed and dated 1762.) 861 o o
\ Purchased in 1868 for t
A Wood Stream 20x28 I £110 ) 798 o o
,, A Girl with a Mask ... , 28 x 22j John White ... Realised nogs, at the
Novar Sale 1878, and I5ogs. at the Posno
Sale 1880 37 16 o
,, A Mill at Charenton 48x60 Madam Lelong... 1000 o o
„ Chinese Fishers ... „ 14$ x 2o| ,, „ ... 560 o o
,, Cupids and Infant
Bacchanals ,, 33 x 53 London, April 28 Set of 4 overdoors ... 52 10 o
oval
The Egg Merchant ... , 42 ... 33^ Lelong 1025 o o
Familiar Scenes — „ pair 42° ° °
,, Fishing Boats „ 2O2 o o
Diana Reposing ... ,, 29 x 38 Vaile Signed and dated 1748 3150 o o
,, The Triumph of Am-
phitrite 39 * 56 „ 357 ° °
oval
The Fortune Teller ... , 124 x 72I )
The Love Message ... 123 x 73i lVaiie . _ 234,5 o o
Love's Offering ... 120 x 72
Evening 124 X 7i| )
Cherubs Sporting 25x19 London, July 13 pair no 5 o
155
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. 1903
Price.
£ ». d. 504 o o
Title. Method. Size and Shape. Sale. Remark*.
inus, seated on Clouds oil 2iJ x iyj London, July n Signed and dated 1762
oval
„ Diana and Cupid ... ,, 21 x i?J London, Nov. 38 pair
,, The Infant Bacchus and Cupid
1904. A Bacchante , 30 x 37$ Hayne
„ The Bird Cage ...} Marne
The Little Bird-NesterJ
„ The Mill Paris, May 26 ...
Woody Landscape ... ,, 28 x 35$ T. Thurlow
,, The Seasons , Ridgway Set of 4 panels
,, Head of a Peasant Girl ,, Paris, Dec. 16 ... Catalogued as by Boucher 40 o o
1905. The Soap Bubbles ... , Paris, Feb. 6 ... 860 o o
„ Cupid Drawing ... ,, Paris, March 21
,, Lovers, Love's Messen- gers, and a Floral Offering „ London, March 25 Set of three
„ Group of Lovers Paris, May 12 ...
,, The Fisherman ... , Paris, June 26 ...
„ Nymphs and Cupids ... , Paris, June 29 ...
,, The Toilet of Venus ... „ 39 x 43 London, June 17
Shepherd and Shep- herdess „ 29 x 35 London, July 8...
,, Sleeping Nymph and
Satyr , 30 x 38 ,,
1906. Venus and Cupid ... ,, Paris, April 25 ...
,, Shepherd and Shep- herdess , isj X 14 London, March 3
,, Musical Cupids ... ... Paris, March 30
„ Cupids Playing ... , Paris, April 30 ...
„ Cupids Playing ... ,, ... ... ,,
„ Birth of Bacchus ... ,, Paris, May 4 ...
,, Cupid with Flowers ... „ ... ... Paris, May 16 ...
,, Young girl with two
children ... ... ,, ... ... ,,
,, Allegory of Hymen ... „ ... ... ,, ,,
„ Madame de Pompadour , 23^ x i?J Quilter panel
,, Nymphs and Cupids ... „ 27 x 54 London, July 2 ... pair
,, Shepherd and Shep- herdess „ 48 x 70 London, Dec. i
„ Charity , 28 x 38 London, Dec. 20
Fruit Girl and her) 43 in.
Lover... ... ...) ,, ... ... circle London, Feb. 16
1907. Venus and Cupid ... , 18 x 22j
Solitude )
The Sleeping Beauty _ Sedeimeyer ...
Cupid pursued
Cupid Captured )
Pastoral
Bacchante Sleeping ... ,
The Pretty Fishergirl ,,
Fisherman ...
The Watermill ... „
Landscape ...
The Message ,, Paris April 16 ...
Pastoral
Jupiter, Calisto and
Cupids ... ... ,, ... ... 324 x 40 London, April 13
Landscape, The envi- rons of Beauvais ... ... Paris, May 13 ...
Coteaux de la Marne Paris, May 24 ...
The Ferryman „ ,,
The Haymaker ... ,, „ „
A Shepherdess, ssated
on a landscape with
a child and a lamb,
listening to a young
shepherd who is play- 32 x 27
ing a flute ... ... ,, ... ... oval London, May 31
Young Shepherdess ... ,, ... ... Sedeimeyer
A Bacchante, with
Cupid and an infant
Bacchanal ,, 34 x 45 London, June 14 63 o o
63 o o
220 10 o
2728 o o
86 o o
115 to o
14000 o o
200 o o
39 18 o
96 o o
284 o o
228 o o
141 15 o
787 10 o
94 10 o
120 o o
37 16 o
820 o o
708 o o
680 o o
74 o o
312 o o
88 o o
148 o o
325 10 o
60 18 o
136 10 o
78 15 o
58 16 o
32 ii o
4480 o o
960 o o
560 o o
1040 o o
201 o o
80 o o
120 O O
648 O O
33 12 o
200 O O
60 5 o
38 o o
36 10 o
189 o o 132 o o
156
Year.
PICTURES AND DRAWINGS SOLD BY AUCTION— continued. Title. Method. Size and Shape. Sale. Remarks.
Paris, March 18 —
1908. Ariadne and Bacchus... oil „ Bacchantes Sleeping ... „
Mercury
Cupid ... Pastoral
Educating
grisaille oil
April 8
Price.
£ •. d.
84 o o
80 o o
350 o o
96 o 304 o
BOUCHER SCHOOL.
1902. Pour la Plus Belle ...
1903. Boys Playing, Dancing,
and Sporting...
1905. Game of Love...
,, Landscape
,, The Toilet of Venus ...
The Rustic Bridge ... ,, The Angling Party ... ,, Nymphs Bathing
Cupid and Psyche
1906. The Little Hunters ... ,, Pastoral Scenes
,, Lovers ...
1907. Venus and Love ,, The Fisherman ,, The Seasons ...
Spring
,, Pastoral Scenes with Lovers, Sheep and Goats
,, Cupids
oil
Paul Baudry
|
43 X 58 oval |
London, Nov. 28 Paris, June 20 ... Paris, Feb. 27 ... Paris, March 21 |
set of pair |
four overdoors |
|
63 x 63 |
Paris, March 24 London, May 8... |
pair |
— |
|
5° * 34 28 x 35 |
Paris, March 26 London, Mch. 17 London, May 26 Sedelmeyer Muhlbacher Sedelmeyer Paris, April 16 ... |
set of set of |
four four |
|
I5j x 3i i8J x 40 |
London, May 31 London, April 13 |
a pair, overdoors overdoor |
176 o o
94 10 o
160 o o
42 o o
62 o o
44 o o
IOO O O
31 10 o
58 o o
105 o o
22 I O
92 o o
76 o o
932 o o
236 o o
39 18 o 37 16 o
157
DRAWINGS, WATERCOLOURS, PASTELS,
AND GOUACHES.
|
Year. |
Title. |
Method. Size and Shape. Sale. |
Remarki. |
|
1744. |
Two Pastels |
— 14 x ii Quentinde |
— |
|
1756. |
Venus drawing a heart |
Lorangere |
|
|
pierced with arrows... |
in three crayons |
||
|
mixed with |
|||
|
pastel Dec. 15 |
— |
||
|
1760. |
An old woman and two |
||
|
young girls, one of |
|||
|
whom holds a rabbit |
|||
|
1763- |
in her arms ... Female life study |
in three crayons 15 x 12 St. Moys... p. Baboult |
Engraved under the title of "Trait Dan- |
|
gereux" |
|||
|
1766. |
Bust of a young man... |
p. d'Argenville |
— |
|
M |
Head of a woman |
P |
— |
|
1767. |
Two architectural pieces |
pen, coloured 11x7 Julienne |
— |
|
Two similar drawings |
15 x ii ,, |
— |
|
|
oval |
|||
|
„ |
Bust of a young girl |
||
|
holding basket of |
|||
|
flowers... |
P- 14 * I3j , |
— |
|
|
, ( |
A flower girl ... |
pen, 'with bistre |
|
|
wash ... ,, |
— |
||
|
Venus at the bath with |
|||
|
Cupid (Diane decouv- |
|||
|
rant la grossesse de |
|||
|
Calisto) |
pen, with bistre |
||
|
wash ... 9x7 |
two |
||
|
(| |
Landscapes, with figures |
||
|
and animals ... |
pen, and san- |
||
|
guine ... ,, |
two |
||
|
, , |
Landscape with Dove- |
blk. and wte. |
|
|
cot |
ch 12 x i8J , |
— |
|
|
1768. |
The Repose in Egypt... |
pencil ... ... Mariette |
— |
|
1769. |
Two male life studies... |
sanguine and |
|
|
charcoal ... Cayeux |
— |
||
|
" |
The Nativity |
g. ,, ..< |
Engraved by Fessard under the title of " La |
|
Lumiere du Monde" |
|||
|
n |
Four heads from life ... |
f. |
— |
|
Six studies of heads : | |
|||
|
six drawings in s and I |
— — |
— |
|
|
three crayon drawings J |
|||
|
tt |
Nine heads, two coats- |
||
|
of-arms, etc. ... |
pen ... ... ,, |
— |
|
|
M |
Five heads, a grotesque |
||
|
and a child |
— |
— |
|
|
( , |
Group of two children |
blk. ch. ... '.. |
|
|
and two children ... |
one in s. and |
||
|
one in three |
|||
|
crayons |
|||
|
,, |
Three groups of child- |
||
|
ren |
s. ,, , |
— |
|
|
,, |
A Humourous Concert |
col. ch. ... „ |
|
|
Three female studies... |
|
|
|
|
Venus on the water ... |
|
|
|
|
» |
A woman |
I |
— |
|
Venus on her bed |
P- J three crayons „ |
|
|
|
Five compositions |
pen and bistre — ,, |
— |
|
|
Study |
blk. ch. ... |
— |
|
|
and two Landscape with figures Two children with wings |
pencil blk. ch. ... |
— |
Price. £ '• A- 440
250
2 IO O
I 12 6
0 12 O 076 Ol6o
1 13 6
8 16 o 400
5 15 °
400 300
i 5 °
O 12 O
o 10 6
076 066
o 13 o
066 086
086
O 12 6 200
too
I 12 O 10
158
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
pen and bistre three crayons ) blk. ch. ...J stump, in three crayons
Y«ar. Title.
1769. Juno commanding ^Eolus to destroy jEneas's Fleet „ Woman, half figure ...\
Child seated J
„ Woman reclining
1771. Portrait in a medallion,
held by fame and
supported by children s.
„ Birth of Adonis ,, Apollo and Daphne ... b.
„ The Visitation of the blk. and wte.
Virgin... ... ... ch. ...
,, The Repose in Egypt pen and bistre ,, Amphitrite seated on blk. and wte.
a Dolphin ch
,, Two Heads 1
Study of a woman!
seated holding a sheep f Seven studies J
,, Female Life Study ... ,, Composition ... ,, Pastoral subject
Hope and Religion ... ,, Parnassus ,, Temple Interiors ,, Venus nude, standing three crayons
looking at two turtle- mixed with
doves pastel
,, The Unbelieving
Thomas
The Adoration of the
Shepherds ... ... pen and wte. ch.
,, Pastoral ... ... pen and bistre
,, Study of a woman blk. and wte. ch.
standing ... ... on blue paper
,, The Game of Blind- man's Buff g.
,, Two drawings of penandchinese
Tombs white
,, Soldiers in a field
,, Interior of a room with
woman seated feeding
a child s.
Two Fable Subjects
and Three Pastorals sanguineandch. The Cries of Paris ... s.
,, Twenty studies of
Foreign figures ,, Two large Chinese
subjects ... ... s.
„ Ten Chinese subjects...
Twelve „
,, The Little Flower Girl ,, Eight drawings of vases
and cartouches 1773. Two academy studies
and two drawings ... ,, The Announcement of
the Birth of the
Saviour to the Shep- herds by the Angels... A Fountain
Method. Size and Shape.
Sale.
Remarks.
Cayeux ...
— Lebrun Fils
19 x 26
Dec. 16 Dec. 16
— Boucher...
blk. and wte. ch. zoj x i6J
9 x ii
unfinished sketch
pair
four
composition of twelve figures
Huquier.
10 x 7
eighteen ...
Lempereur
Venus at her Toilet ...
Three women and a child, one makes soup and the others air clothes
blk. ch. heigh- tened with white or Chi- nese paper...
bistre heigh- tened with white
pen and wash...
Price.
£ s. d.
I O O
076 o 12 6
i I 6
II 10 O
i 8 i
I 4 o
1150
i ii 6
o ii 6
o 12 o
o 13 o
o i o
o ii 6
o 10 o
5 15 ° 800
800 i o o
056
12 O O
0 12 6
1 O O
3 17 6
0 IO O
1 O O
2 O O
o 15 o 050 076 o 10 6
o 13 o 030
600
159
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Till*.
1773. Landscape
Method. Size and Shape.
Sale.
Remark*.
Head of a woman Rape of Europa Scene from the Tragedy "Mahomet II"
The Beheading of St. ] John the Baptist. ... |
The Pilgrimage to I Emmaus ... ... J
Amphion on a Dolphin accompanied by Tritons and Naiades ; and the figure of a woman
Four fan compositions including the Rape of Europa
Compositions and stud- ies, including one of Moses
Four drawings, one a Title page and another Group of children
Two Pastorals and two others...
Three Compositions and three studies
The lord and his vizier
The Audience of the ' Lord
The Slave Merchant ...
The Mute
A Janissaries Camp ...
A Sultana Reading ...
A Sultana Bathing ...
The Cadi gives Audience ... ...
A Sultana and the Cap- tain of the Janissaries
The Muphti and Chidou- Bachi
The Boftangi
The Capigi-Bachi
Numerous Heads
Landscape
The Mills of Charenton
Landscape- Gentilly near Paris
Landscape - Gentilly near Paris with Fisherman
Landscapes
Suggestion for the dec- oration of an opera, and another
Three Drawings
Two Drawings...
Three Little Land- scapes
Three Little Land- scapes...
Three Little Land- scapes
on grey paper height ened with white...
P- pen and wash...
pencil vellum
o n
pencil vellum
Lempereur
two
four
pencil ...
blk. and wte.
ch. on grey
paper on blue paper
on blue paper
one blk. ch. and two pencil ...
one blk. ch. the other on blue paper
one on blue paper
two
four
three
two two
two
two
Price. £ .. d.
250 I o o 200
0160
o 10 6
0 15 o 080
200 076 080
1 O O
O 12 6
i o o
0160 o 10 6
o 12 6 o 15 o 200
276
0160 I 4 o
080 076
0 10 6
1 o o
160
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title.
1773. Pastoral Landscapes... ,, View of Cachant near Paris and a s'udy of a woman
,, Nine different drawings ,, Psyche refusing Divine
Honours ......
1776. Two Architectural
pieces with figures ... „ The Flower Seller ... ,, The Repose in Egypt... ,, The Virgin and Child
with Saints ... ,, Religion, figure on a
cloud .........
,, Victory and Fame
,, Portrait, supported by
two Cupids ......
ThreesheetsofChildren
groups ,, Venus and
Method. Size and Shape.
Sale.
Remarks.
blue paper
blk. ch. on wte. paper
pen and bistre
coloured coloured pencil and bistre
pen and bistre
blk. ch.
b.
,, Four studies for foun- tains, ceilings, etc. ... ,, The Lord's Supper. Landscape
Three classical sketches ,, Twenty-six Vignettes for the History of France
1777. A Woman reclining ... Two Cupids on Clouds
,, Fountain, composed of two women, holding a shell...
,, Two Landscapes, in one a Fisherman in his boat, in the other an artist with children
,, Samson betrayed
, , Adoration of the Shep- herds .........
,, Sacrifice to Venus , , Angelica and Medora. . . ,, Cephalus and Procris ,, Diana bathing... ,, Two Peasants ...
Diana and Calisto ,, Diana bathing with Nymphs
,, Peasant and a young
Girl, and a Laundress
„ Woman and Two
Children ......
A Woman with a Child
in her arms.
, , Interior with a Woman holding a frying-pan, and another with a Child, drying linen ... „ Cupid teaching three Girls .........
„ Woman reclining with
Cupid asleep... Woman reclining with
two Children. Two Women ......
Two Women reclining.
b.
sanguine and blk. ch. ...
pen and bistre
pen
blk. and wte. ch.
pen
in 3 colours ... sanguine and white
pen and bistre
Lempereur
Jacqmin ...
Neyman
Blondel de Gagny Mariette...
two
three
Prince deConti...
pen and bistre blk. and wte.cb.
blk. and wte. cb. washed with pastel...
I2f x 8J 13 x 3
8 x ii
9 x 14
Price. £ .. d. o 17 6
076 076
12 O O
o 15 o
75° 330
10 6
200 2 l8 O
0 12 6 400 200
1 10 O
300 I 3 6
276 076
|
blk. ch. on |
||||||
|
white paper |
i? |
X |
12 La Tour d'Aigues |
6 |
0 |
0 |
|
grisaille on grey |
||||||
|
paper |
13 |
X |
10 ,, |
I |
15 |
o |
|
pen and blk.ch. |
6f |
x |
9 Randon de Boisset |
8 |
0 |
o |
|
bistre wash ... |
13 |
x |
i? |
12 |
o |
o |
|
pen and wash |
7 |
X |
ii |
5 |
5 |
o |
|
b. |
7 |
X |
9 |
4 |
16 |
o |
|
ink and bistre |
8 |
X |
ii ,, ... nine figures |
10 |
0 |
o |
|
blk. and wte. ch. |
13 |
x |
9 |
10 |
o |
o |
|
blk. ch. |
8 |
X |
12 ,, |
IO |
17 |
6 |
|
blk. ch. on |
||||||
|
white paper |
7 |
X |
10 |
8 |
o |
0 |
|
s. |
ii |
X |
7 ,, ... two |
8 |
o |
0 |
|
p. |
_ |
• . two |
6 |
IO |
0 |
two two
850 3 12 o
9 10 o
IO O O
161
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
|
Year. |
Title. |
Method. Size and Shape. Sale. Remarks. |
Price. |
|
|
£ •• |
d. |
|||
|
1777. |
Two Naiades and two |
|||
|
children |
bistre and white 10x7 Randon de Boisset |
10 8 |
O |
|
|
M |
Young Girl with Rabbit |
blk. ch. and |
||
|
The Old Miser. |
pastel ... 12 x 9 ,, ,, ... pair |
4 13 |
o |
|
|
Scenes galantes |
pen and bistre ,, pair |
18 o |
0 |
|
|
Venus and Cupid |
P. 14 x 3 pair |
13 o |
o |
|
|
The Three Graces and |
||||
|
Cupid |
blk. ch. and |
|||
|
pastel ... 13 x 10 ,, ,, ... |
16 10 |
0 |
||
|
M |
Venus and Cupid |
blk. and wte. ch. n x 6 ,, ,, ... |
6 8 |
0 |
|
Young woman playing |
||||
|
with a Bird |
— 9x6 ,, ,, ... two |
16 16 |
0 |
|
|
|( |
Woman holding a |
|||
|
basket of flowers |
||||
|
A Naiade and Venus |
||||
|
with doves |
blk. ch. and |
|||
|
pastel ... 8 x ii ,, |
10 5 |
0 |
||
|
rl |
Seven Cupids playing |
|||
|
with a bow ... |
blk. ch. ... 10 x 30 ,, ,, ... |
2 17 |
0 |
|
|
Three children |
4 x 13 „ „ ... |
2 I? |
6 |
|
|
n |
The Three Graces ... |
— ,, ,, ... |
* 5 |
o |
|
M |
Young Girl with basket |
|||
|
of flowers on her head |
blk ch. and |
|||
|
pastel ... 11x8 ,, ,, ... |
7 10 |
0 |
||
|
( , |
A Barn, figures |
ii x 15 ,, ,, ... |
° 3 |
0 |
|
( ( |
Landscape, cottage and |
|||
|
mill |
n x 8 ,, |
I 12 |
6 |
|
|
M |
Landscape, farm and |
|||
|
figures... |
ink and wash... 9x7 „ ,, ... |
3 IS |
0 |
|
|
> , |
Peasant holding a |
|||
|
basket of flowers, near |
||||
|
her is a dog ... |
16 x 13 „ ,, ... |
12 0 |
o |
|
|
, t |
Little Boy holding a |
|||
|
stick ... |
ii x 7 „ ,, ... pair |
8 o |
0 |
|
|
( t |
Little Girl holding a |
|||
|
basket of flowers |
||||
|
( ( |
Woman seated, with |
\ |
||
|
cat and dog ... |
— oval ... ,, ... two |
9 10 |
6 |
|
|
lt |
Danas and the Shower of |
f |
||
|
Gold |
J |
|||
|
1 r |
Woman holding a |
|||
|
Donkey |
25 o |
o |
||
|
( r |
Woman unloading a |
|||
|
Donkey |
||||
|
Tobit and the Angel ... |
blk. ch. ... 10 x 15 ,, ,, ... |
3 17 |
6 |
|
|
, , |
Head of a Woman |
blk. ch. ... 11x8 ,, ,, ... |
I 0 |
u |
|
Head of the Virgin ... |
red ch. ... ,, ,, ... |
I 10 |
0 |
|
|
Child |
blk ... ... ii x 8 , half figure |
i 4 |
u |
|
|
" |
Landscapes : Cottages |
|||
|
and figures ... |
one heightened ,, ,, ... |
4 16 |
o |
|
|
with wte. the |
||||
|
other blk. ch. |
||||
|
A Laundress ... |
pen ,, ,, ... pair _ |
2 I? |
6 |
|
|
A School |
pen ,, two |
6 10 |
o |
|
|
, , |
A Woman carrying a |
|||
|
child in a basket |
||||
|
, , |
Five Drawings... |
b. - |
8 16 |
0 |
|
, , |
Five Drawings... |
blk. ch. and |
||
|
charcoal ... ,, ,, ... |
8 10 |
rj |
||
|
f ( |
Woman seated holding |
|||
|
a basket of fruit |
blk. and wte. „ ,, ... pair |
4 '7 |
6 |
|
|
, , |
A Fisherman |
chalk |
||
|
,, |
Woman standing |
,, ,, ... . pair |
5 o |
0 |
|
,, |
Woman seated |
|||
|
( ( |
Two Women ... |
,, „ .-. pair |
4 16 |
0 |
|
t j |
Two Women and three |
|||
|
Cupids |
||||
|
, , |
Woman standing |
blk. ch. ... „ ,, ... two |
2 5 |
0 |
|
,, |
Woman and her child |
|||
|
in a kitchen |
||||
|
M |
Woman reclining |
,, ... pair |
5 17 |
0 |
|
, , |
Venus sleeping |
|||
|
,, |
Three Naiades... |
, pair |
9 10 |
0 |
162
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title.
1777. Venus and Cupid
,, Bacchante sleeping ... ) ,, Four studies of Heads j ,, Cottage with woman
and three children ... ,, Landscapes : Buildings
river, and figures ,, Landscapes : Figures
and animals
„ Landscape, Figures and
Miller's house „ Shepherd wheeling a
Girl in a Barrow
1778. Peasant with Basket of
Flowers
1779. Samson surprised by
the Philistines Study of a Woman ...
,, Interior of a country
house
,, Two Heads, Man and
Woman, study for a
fountain Child's bust; Woman
with three Children... ,, Joseph sold by his
brothers 1781. Young man giving
Birds to a Girl ,, Les Guetteuses
,, Young Girl carrying a Basket in which is a Child
„ Mme. de Pompadour...
,, Young Girl holding a Rabbit
Young Girl with Cat
on her knees
Danae receiving the
Shower of Gold ,, Young Girl making a school of little boys... Young Boy making a
school of little girls ,, Young Girl, nude, re- clining on a bed The Adoration of the
Shepherds
,, The Three Graces, bathing
,, Landscape
Landscape
,, Woman reclining on drapery
„ Nude Woman, lying on her back
1782. Two Turtle-doves, and woman leaving a Bath
,, Head of a Woman, hair tied with ribbon
,, Portrait of Woman surrounded by a floral garland
,, Similar subject
Method. Size and Shape.
Sale.
Remarks.
— Randon de Boisset
|
charcoal |
— |
„ ... |
|
charcoal |
— |
,, ,, ... two |
|
— |
— |
- , , , , . . . two |
|
three crayons... |
— |
• 1 II |
|
pen and bistre |
— |
,. |
|
grisaille a 1'huile on paper ... three crayons grey paper... |
16 x 13 |
Lerouge Marquis de Cal- viered'Avignon |
|
blk. ch. |
— |
,. |
|
sanguine pen and wash ... |
— |
d'Argenville |
|
s. pen and bistre wash |
9 x 13 |
Trouart ... |
|
pen and bistre blk. ch. and white |
7f x 9} 14 x 9} |
Sireuil |
|
ch. and pastel P- blk. ch. and pastel on blue paper round blk. ch. and pastel on wte. paper ... blk. ch. and pastel blue paper |
13 x to 14 X 12 12 X 9 10} in. diam. loj x 7j |
two ,, ... ... pair |
|
blk. ch. and pastel on blue paper blk. and wte. ch. |
27 x 38 6J x 9 |
|
|
blk. ch. on blue |
||
|
paper ... pen and bistre wash, blue |
40 x 24 |
1 ' |
|
rper and wte. crayon, blue paper sanguine on grey paper... in colours on |
7x9 13 x 9 7f x 4 |
»» "' |
|
grey paper ... ch. and wte. |
— |
|
|
crayon, on grey paper... |
— |
Lancrat ... |
|
P- |
IJ X 12 |
Menars de Marigny |
|
P- |
13 X 9j 13 x 0$ |
i» ii ••• M i» • • • |
|
163 |
Price. £ •• d.
440
5 15 o 2 18 6 2 18 6 340
1800
12 O O
0 17 o
1 O O 050
076 O IJ O
6 12 6
740
36 12 O
19 5 ° 800
55° 7 12 o
26 o o
3 13 6 1600
400
7 3 o
3 16 o
3 12 o
4 16 o
I 12 o 4 16 6
600 3 '3 6
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title.
1783. Ten figures with
animals „ The Education of
Cupid... The Flower Girl
The Repose of Venus
Bust of a woman with
flowers in hair Another, similar Woman lying on a bed
Figure of a Woman holding a medallion
Nymph tied to a tree and corrected by Cupid
Young Shepherdess, seated, holding a medallion
Woman holding drapery Young Shepherdess in bright costume
Five Children
Peasant Study
Woman in Chinese
costume
Diana and Endymion... Shepherd surprising a
woman bathing Two Nymphs bathing,
in a Landscape Shepherd suprising a
Shepherdess bathing Venus seated holding
an arrow
Two female studies, similar
Ten busts of young girls in various posi- tions, similar
Studies of Naiades and Tritons
Woman, seen from the
back ...
Bather and two Cupids Figure of a Woman ...
Landscapes, river views
and figures ... Landscapes and pastoral
subjects
Peasant, back view ...
Laundress, holding a
basket of linen Two Landscapes
Two Women and Cupid A column surmounted
by a vase and a
medallion
Method. Size and Shape.
Sale.
Remarks.
pen and san- guine wash...
blk. ch., wte. paper
blk. ch. and pastel on wte. paper
blk. and wte. ch
P. P-
three crayons and pastel ...
three crayons and pastel ...
blk. and wte. ch. on grey paper
crayon and pas- tel, on grey paper
blk. and wte. ch.
blk. chalk and sanguine ... three crayons blk. ch. on wte. paper
blk. ch. on note paper
crayon and pas- tel ...
sanguine on grey paper
crayons
sanguine on grey paper
blk. and wte. ch.
and pastel on
blue paper... crayons on blue
paper ch. on wte.
paper
blk. and wte. ch. on blue paper
Dazincourt oval , ,
16 x 13 16 x 13
twelve
numerous small sketches
Price. £ s. d.
1 12 O
34°
6 17 6
5 15 °
a 8 o
2 12 6
2 IS O 300
I 4 o
|
— |
2 O |
o ift |
0 0 |
|
|
I O |
10 8 |
0 0 |
|
pair |
I |
I |
6 |
|
pair |
... X |
t |
» |
|
pair |
5 |
12 |
0 |
1 5 °
6 16 o
3 15 O 280
2 4 6
550
4 16 o 04*
O 12 •
164
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title.
1783. Three Landscapes
,, Child Studies
„ Studies of Babies
Head of an Old Woman „ Studies of Peasants ... ,, Bust of the Virgin ... „ Studies of draped female seated figures
Method. Size and Shape.
with
1784. 1785.
An Interior A Kitchen Venus reclining
Cupid ... Pastoral subject An interior. Country scenes Nymphs reposing after
the chase
A Shepherdess sleeping
and her flock. Two similar subjects ... Peasant carrying a
child in a basket Three studies of heads Three drawings Two children, pressing
grapes
Three studies of hands
and a composition ...
Venus seated with Cupid
Shepherdess leaving the bath, landscape
Female studies, and two studies of heads
Venus and the Graces in a landscape
Two Women's heads...
Group of Soldiers
Two Heads of Women
Study of Women re- clining, view from the back
Three Cupids
Head of Woman Figure of a Woman ... Landscape, with Mill and washerwomen ... Young Villagers Landscape
Hut and bridge on a river, with figures ...
Two studies of heads on
one leaf
Groups of Children ...
Child studies
Landscape with animals The Flower Girl Three Drawings
ch. on wte. paper blk. and wte. ch.
crayon and pastel
blk. ch. on blue
paper ch
blk. ch.
ch.
blk. ch. on wte. paper
3 crayons on grey paper...
on paper blk. ch. on wte. paper
blk. ch. on wte. paper
blk. ch.
crayon and wte. in ink on one
leaf
Cray o n and
pastel
blk. and wte. ch. and pastel
ch. and pastel
blk. ch. on grey paper
blk. ch. on wte. paper
s. blk. and wte. ch.
coloured wash and wte.
ch. on blue
paper
Landscape with figures see remarks ...
Sale.
Dazincourt
... two
Remarks.
pair
pair pair
pair pair
pair
Leroy de Senne- ville
— Nourri
pair seventeen
one a " Halt during the Chase"
Three, one blk. and wte. ch., and the others blk. ch
Price. £ $. d. 086 I 18 6
0 18 6
1 7 6 250
I O O
280
i 15 o o 15 o
6 16 o
4 i6 o
i 5 6 280
O 12 O 076
080 076 I O O
i 19 o
080
i 19 o 050
5 15 °
O 12 O
i 5 ° 050
I IO O
i 19 o o 12 6
3 17 6
086
O 12 6
o 15 o
450
33°
O IO O
165
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
|
Year. |
Title. |
Method. Size and Shape. Sale. |
Remarks. |
Price. £ «. a. |
||
|
I785- |
Eight studies Twelve landscape |
pen and bistre |
Nourri |
One a study for the "Massacre of the |
||
|
studies |
blk. ch.on wte. |
Innocents" |
o 3 |
o |
||
|
paper |
— ,, |
Views of Charenton and |
||||
|
elsewhere |
0 12 |
6 |
||||
|
1787. |
Mythological subject... The Virgin |
pen and wash... |
8 x 13 Collet ii x 8 ., |
half figure |
o 8 ° 5 |
6 o |
|
An Interior, with two |
||||||
|
women and a child ... |
bistre wash ... |
izj x 8J Lambert and |
||||
|
1789. |
Joseph sold by his |
Duporail |
— |
2 12 |
o |
|
|
Brothers |
pen and bistre |
9 x 13 Feby. 15 |
— |
I 13 |
6 |
|
|
1791. |
Interior with two women |
— |
12 x 8 Le Brun |
— |
i S |
6 |
|
The Adoration of the |
||||||
|
Shepherds |
bistre and wte. |
i8J X 14 |
— |
8 o |
o |
|
|
The Triumph of Venus |
||||||
|
and Neptune... |
grisaille |
18 x 33 ,, |
Composition of 25 figures |
i 18 |
6 |
|
|
"797' |
A Woman seated, a |
|||||
|
Landscape and two |
||||||
|
others |
blk. ch. on blue |
|||||
|
paper |
Wouters, Brussels |
— |
O IO |
0 |
||
|
11 |
Young Villager repos- |
|||||
|
ing leaning on a Vase |
blk. ch. |
— — |
— |
o 8 |
6 |
|
|
I799- |
The Reconciliation of |
|||||
|
Esau and Jacob |
pen and bistre |
Basan pere |
six |
3 O |
0 |
|
|
Jesus making Peace |
||||||
|
with His Disciples |
||||||
|
(| |
The Triumph of Venus |
gouache |
oval |
— |
I 4 |
0 |
|
If |
Venus and Cupids |
crayons and |
||||
|
pastel |
14 x loj ... |
— |
I 4 |
o |
||
|
(J |
Eight Studies |
crayons |
,, |
— |
0 II |
6 |
|
1803. |
Young Villager leaning |
|||||
|
on a Vase |
blk. ch. |
— April 18 |
— |
o 8 |
6 |
|
|
1810. |
Thirty-one Drawings... |
. — |
Rigal |
Including Moses receiv- |
||
|
the Tables of the Law, |
||||||
|
Pastorals, Landscapes, |
||||||
|
1811. |
Moses receiving the |
Heads and Studies ... |
o 8 |
6 |
||
|
Tables of the Law ... |
— |
Silvester |
Twenty drawings and |
|||
|
1814. |
The Angel disappearing |
studies |
o 8 |
6 |
||
|
before Mann£ and |
||||||
|
Elyma, and 14 draw- |
||||||
|
ings |
— |
Bruun-Neergaard |
— |
I 12 |
6 |
|
|
,, |
Young Boy |
P. |
6x9 ,, ,, |
half figure |
I I |
0 |
|
1818. |
Two young Girls one |
|||||
|
holding a Rabbit |
||||||
|
under her arm |
crayon slightly |
|||||
|
coloured with |
||||||
|
pencil |
6x4} Saint-Moys |
|
t 10 |
e |
||
|
1823. |
Two Nude Angels |
sanguine |
4l x 3i Grunling, Vienna |
_ |
o 8 |
6 |
|
,, |
History and the Arts... |
bistre and wte. |
||||
|
ch |
— ., ,, ... |
o 4 |
0 |
|||
|
1834. |
Young Woman giving |
|||||
|
soup to a Child |
pen and bistre |
Lagoy |
— |
O 13 |
6 |
|
|
1839. |
Brother Philip's Geese |
gouache |
Bruzard |
for a Fan |
10 16 |
o |
|
1841. |
Young Girl with her |
|||||
|
head leaning against |
||||||
|
a pillow |
P- |
Baron Roger ... |
— |
3 10 |
o |
|
|
,, |
Mme de Pompadour ... |
P- |
— >i fi |
— |
* 8 |
6 |
|
1842. |
Young Girl with roses |
|||||
|
in her hair |
crayon |
nj x 8} Villenave |
— |
I O |
6 |
|
|
,, |
Study of a Nude |
|||||
|
Woman |
crayons |
|
_ |
I 13 |
6 |
|
|
ii |
Landscape, Farmyard |
blk. ch. |
i3j x 20} |
|
O IO |
6 |
|
1845. |
Young Woman stand- |
|||||
|
ing in a Park |
P- |
Cypierre |
_ |
IO 10 |
O |
|
|
1848. |
Sleeping Shepherdess |
|||||
|
surprised by a Shep- |
||||||
|
herd |
ch |
Saint |
_ |
O 12 |
g |
|
|
D |
Young Girl smelling a |
|||||
|
Flower |
ch |
|
__ |
6 8 |
o |
|
|
M |
Studies of Women ... |
blk. ch. on blue |
11 |
|||
|
and grey paper |
_ |
four |
2 0 |
o |
||
|
.. |
Young Girl Dancing ... |
ch |
— ',', |
pair |
18 o |
o |
Young Peasant Dancing
166
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title.
1851. Young Girl Crowned
with Roses
,, Young Girl Dancing ...
1855. The Three Graces ... ,, Cupid
,, Head of a Young Girl Crowned with Roses
1856. Bust of a Young Girl...
,, Nymphs surprised by a Satyr
„ Venus looking at two Doves
,, Girl playing with a Cat
1857. Vertumnus and Pomona ,, Five Drawings and
Pastels
,, Nine Drawings for the " Metamorphosis of Ovid"
,, The Birth of Bacchus
,, Diana and Actaeon ... , , Vertumnus and Pomona
,, Twenty-seven drawings ,, Three Nymphs on
clouds ,, Venus and two Cupids
on clouds
1858. The Three Graces, and
Cupid
,, A Cupid
,, Two Groups of Cupids attaching Garlands of Flowers to an Altar...
,, Young Woman, nude, lying on her right side
,, Pastoral subject
, , Land scape with animals ,, Study of a Man
,, Frontispiece of a Book
„ Three Nymphs, on
clouds
1859. Young Girl playing
with a Cat
,, Summer
,, Cupid stung by a Bee... ,, A Wooden Bridge ,, A Nymph seated
,, Pastoral
, , Landscape with figures ,, Head of a Sleeping
Girl
,, Young Girl Sewing ...
,, Two studies
,, Two studies
,, Pastoral
Study
„ Study
,, Study of a Young Man,
clothed in satin , , Allegorical Composition ,, Country Dance
|
Method. Size and Shape. Sale. Remarks. Price. |
|
|
£ ». d. |
|
|
crayons ... |
— Van Os 4 12 6 |
|
crayons on col- |
|
|
oured paper |
— 800 |
|
blk. and wte. |
|
|
crayon |
Norblin 200 |
|
blk. and wte. |
|
|
crayon |
,, ... ... 10 o o |
|
pastel on blue |
|
|
paper |
VandenZande... o n 6 |
|
crayons |
— Greverah ... 400 |
|
Engraved by Marte- |
|
|
nasie under the title of |
|
|
— |
Dec. 15 " Pan et Syrinx " ... o 16 6 |
|
crayon and |
|
|
pastel |
250 |
|
P- |
— ,, II 12 O |
|
in two crayons |
Richard 600 |
|
— |
,, ... ... 1800 |
|
Thibaudeau ... 52 12 6 |
|
|
chalk on white |
|
|
paper |
,, ... 700 |
|
in two chalks |
|
|
on blue paper |
13 4 ° |
|
in two chalks |
|
|
on blue paper |
,, ... 600 |
|
— |
Marcille 29 15 o |
|
in three chalks |
Nov. 30 ... ... 086 |
|
s. |
020 |
|
s. |
Norblin 850 |
|
coloured and |
|
|
crayon |
— ,, ... ... — 7 12 o |
|
in three chalks |
Mouriau ... 400 |
|
s. |
,, ... ... 0160 |
|
pen and light wash |
Kaieman ... 086 |
|
red chalk |
— , o i 6 |
|
reddish violet |
|
|
chalk |
M 036 |
|
red wash heigh- |
|
|
tened with |
|
|
white |
„ o 10 6 |
|
in three chalks |
— — o 13 6 |
|
P- |
— Feb. 21 ii 12 o |
|
blk. ch. |
, 036 |
|
030 |
|
|
pen ". s. |
— o i 6 ; o36 |
|
s. |
— o4o |
|
sketch o i 6 |
|
|
in two chalks... |
O I O »i ••• - |
|
pencil |
... 056 — ... on one mount ... ••• 020 |
|
__ |
— for a fan 150 |
|
|
— , screen 200 |
|
— |
— , 250 |
|
— , — — 74° |
|
|
_ .... — i i 6 |
|
|
|
! 34° |
167
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title.
1859. Young Woman seated
in a chair „ Young Girl holding
flowers in a basket ... ,, Young Lady in a silk
robe ... ,, Venus whipped by
Cupid
,, Shepherd surprising a
Shepherdess ... Head of an Old Man ...
,, Adoration of the Shep- herds
,, Frontispiece to a Book
,, Young Girl playing
with a Dove ... ,, Group of Children
Study
,, The Butter Churners... Laundresses Chatting Young Girl guarding her Sheep
„ The Butter Churner ...
,, Study of a Young Man
,, Country Dance
1860. Cupid <
,, Three Cupids support- ing an Escutcheon, which bears the por- trait of a woman
,, Bust of a Girl, back view
,, Allegory for the Dau- phin
,, Nude Woman, reclining surrounded by roses
„ Child reclining holding grapes
1861. Study for the awaken-
ing
,, Nude Woman sleeping
Nude Woman reclining holding a Rose
The Reverie
,, Venus and Cupid
,, Fan subject
,, Three Cupids support- ing an Escutcheon, which bears the por- trait of a woman
,, Woman seated, holding
a Basket Study of a Dress
,, Young Girl holding a Basket
,, Interior with three Women. playing musi- cal instruments
„ Screen designs
,, Large landscape with
cottages 1862. Landscape with figures
Method. Size and Shape.
Sale.
Remarks
— Feb. 21 ..
in three cra- yons, with the shadows washed in ...
pen and bistre red wash heigh- tened with white
three chalks ... blk.ch. relieved with wte. ... red ch. pen and bistre
coloured in three chalks
pencil ... blk. and wte. ch. pen, bistre and sanguine ...
coloured chalks
chalks...
blk. and wte. ch. on grey paper
blk. ch. on bluish paper
blk. ch. heigh- tened with wte. on grey paper
pencil ...
blk. and wte. ch.
blk. ch. slightly heightened with wte. ...
pencil
water colour ... gouache
— David ..
— Kaleman
12 J x
Norblin ...
Denesle ... Walferdin
ii May 21 ...
Lajarriette
— Van Os
May 29
a pair and another
May 21 .. E. Blanc.
pair on one sheet
two
Price. £ >. d.
0 15 o 040
1 4 o 3 16 6 956
086 066
080 o I 6
030
0 i 6
1 17 6
250 200 750 34°
7 17 6
i 17 6 0160
750 5 !5 ° 3 12 6
0160
700 650 286
o 13 6 050
030
o 9 o 0160
0160 850
168
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. 1862.
1863.
Title.
Method. Size and Shape.
1864.
1865.
1869.
1875.
Virgin and Child with
Angels
Heads of Girls and Boys. blk. ch. Young Girl holding
flowers on her knee The Aga of Janissairies pencil The Sultana.
Woman reclining ... blk. ch. Portrait of a Woman... chalks Young girl smelling a
rose p.
Studies of Children's
heads blk. ch.
Two drawings... Venus and Cupid
Nymphs bathing
Young Girl in tasteful costume
Group of Children ...
Young Girl surprised by a faun...
Three nude Women with Cupids
Cupids on clouds
Diana ...
Reclining Nymph sur- prised by Satyr
Head of a Young Girl Head of a Young Girl A Gardener, with a Shepherd and flock in middle distance ... Shepherdess with basket
on head
Nude Man seated Head of a Child Head of a Girl, and Young Shepherd and
Shepherdess ... Four Children's heads on one sheet, and three nude female studies on the same... Two Busts of peasants Two drawings
Woman on a bas relief
A Mother and two Children
Spring and Autumn ...
Soldiers halting in a ruin
blk. and wte. ch. on blue
rper ch.
blk. ch.
in three chalks
blk. and wte.
ch. on blue
paper
in three chalks in three chalks
blk. ch.
blk. ch.
sanguine and wte. blk. & wte. ch. ^
s.
in two chalks...
blk. and wte. ch
blk. and wte. \ ch. on reddish [• paper ...)
pen and bistre
Drawing s.
Reclining nude Woman
surrounded with roses coloured chalks Allegory for theDauphin,
Cupids supporting
medallions
Two Girls seated, at their side a Shepherd and his flock
Portrait of a Poet sup- ported by two Nymphs on a column
pen, bistre and sanguine ...
pen, bistre and wte
Sale.
Bonvoisin
April 16
Evans Lombe ... Soret
Lhermitte Andrgossy
May 10 Desperet
Remarks.
Miniature on ivory two
pair
sketch on paper
. after Watteau
April 16 Gamberlyn
Foureau ... pair
Comte de Pour- tales
Demidoff
Walferding
— Guichardot
Price. £ ». d.
800 I 4 o
O IO O 020
18 16 o
19 4 o
020
340
100
2 14 6
056 050
o 17 6
4 16 o 210 076
040 040 o 10 o
2 IO O
040 056
056 056
o i 6 036
oio 10 o o
I 13 O
12 16 O
5 '5 °
750
700
blk. and ch. ...
wte.
169
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title.
1875. Young Mother giving
soup to her Child ...
„ The Nativity
,, The Nativity
,, The Flagellation ,, Landscape with Cot- tages
,, 'f Rustic Interior
Cupids
Shepherd and Shep- herdess reposing Studies of head and hand The Shepherd's Repast Aurora ..
Method. Size and Shape.
Sale.
Remarks.
1876.
1877.
1880.
pen and bistre blk. and wte.
ch
pen and bistre pen
in various cray- ons
red crayons ... pen
blk. ch. ... —
bistre, crayon and white ... octagonal
— Guichardot
Two Cupids
The Three Graces ...
Mars and Venus
The Virgin and Child
Innocence
Allegorical composition
Subject entitled — " Contes de La Fon- tine"
Head of a young Girl
with a Fichu tied
under her chin
Angel's Head
Young Shepherd with
bunch of grapes Young Woman seated Venus reclining holding
a Dove
Profile Head of a Woman
P- P- pen and wash
sanguine and bistre
1882.
YoungWoman standing Rustic Interior Cupids Playing Moses presented to
Pharaoh's Daughter blk. ch. Cupids on the prow of
a Ship
s.
ch. and san- guine with wte
blk. ch. with wte. on tinted paper s.
pen and sepia
ch.
A Cottage with brood of chickens
Landscape with build- ings
Entrance to a Village with Shepherd
Pastoral
Child on a Wooden Bench...
Bust of a young Woman A Shepherdess Head of a Man
Two Heads of Cupids Group of Cupids for a Screen
blk. and wte. ch. and san- guine
ch.
s.
ch
line on blue \ paper
blk. andwte.ch. f on brown paper ... )
ch.
blk. and wte.
ch
sanguine
blk. and wte. ch. on blue paper
184 x 16 Marcille... Feb."28 .'.'.'
l6| x uj Brooks ... Behague ..
9i x 12 Maherault i3l x 9!
it •••
It •««
15 x loj ,, 13! X i6J
Jean Gigoux
six five
for frontispiece of a book
full size ...
for overdoor
pair
Price. £ ». d.
100
i 17 6 i I 6 o 12 6
i ii 6 o 17 6
i 18 6
12 5 o
24 8 o
31 o o
16 8 o
7 15 o
44 o o
I 13 6
82 8 o
30 o o 7 12 o
600 840
5 12 6
480 24 o o 36 16 o 10 o o
75°
800
2 12 6 5 12 O
280 286 340
6160
170
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Tide.
1882. Cupids carrying a Car- touche and using the bow ,, Shepherd seated
,. Head of a you ng
Shepherdess
„ Cupids playing with
goats
, , Young Girl reclining . . . „ Young Girl, beaten by
Cupid
, , Young woman reclining
The Nativity
„ Young Girl, bust ,, Fountain design „ Young Girl's head ,, Young Woman's head „ Young Woman'sbust... ,, Love the Conqueror ...
The Dance
,, The Young Artists ... ,, Washerwomen, in a
Landscape
1883. Neptune calming the
tempest, which .fliolus had let loose against the Fleet of ^Eneas ...
,, The Reader
,, The Picnic
Three Girls with Cupid ,, The Return from the
Fields...
, , Bust of Young Woman ,, Travelling Bohemians
Sketching
,, The Pancake
,, Nymph and Cupid ... ,, Bust of a Young Girl...
,, Nymph reclining ,, Nymph sleeping
1884. Head of a Boy
Bust of a Girl ...
Bacchante
The Bath of Diana ... ,, Allegorical Piece ,, Summer and Autumn
,, The Painter
,, Head of a Woman ,. Three Villagers , , Young Shepherdess followed by two Shep- herds with their flocks 1885. The Sleeping Shepherdess...
Method. Size and Shape.
Sale.
Remarks.
1886. The Rape of Europa ...
,, Mme. de Pompadour...
„ The Picnic
,, Return from the Fields
„ The Toilet
|
line and chalk blk. and wte. |
— |
Jean Gigoux |
|
ch. on blue |
||
|
paper |
— |
|
|
blk. ch. |
— |
,, ... |
|
blk. ch. |
_ |
|
|
in three crayons |
9i x I3i |
Marmontel |
|
three crayons three crayons blk. ch. |
i3i x 18 |
|
|
three crayons ch. ch. |
84 x 6J 14 x 8f 4x6 64 x 8 |
M ... |
|
ch. |
'34 x 94 |
,, |
|
sepia ... |
8| x lof 134 x 8J si x 104 |
, , ... |
|
— |
8J x io| |
., ... |
|
blk. and wte, |
||
|
ch. and bistre pen and wash blk ch. and wte. blk. ch. |
22 X 15! 104 x 8 i°4 x 34 94 x 8 |
Beraudiere |
|
s. in three chalks blk. ch. grey |
94 x 7i |
;: ::: |
|
paper |
— |
|
|
— |
— |
Daran |
|
— |
— |
Derenaucourt |
|
s. |
'74 x 13^ |
Schwiter |
|
blk. and wte. |
||
|
ch. grey paper ch. |
124 x 94 8f x 14} |
„ |
|
s. |
8f x 14! |
,i ... |
|
blk. and wte. |
||
|
c h . and |
||
|
sanguine ... blk. and blue |
— |
Baron d'lvry |
|
chalk and |
||
|
sanguine ... blk. and blue |
7f x 5} |
" |
|
chalk and |
||
|
sanguine ... pen and sepia pen and sepia blk. ch. |
10 x 7j 7} X 12} 9! x 12} 8| x u| |
*» II H M May 2ist |
|
blk. ch. |
|
Beurnonville |
pair
gouache
blk. and wte. ch. on blue paper
blk. ch. blk. ch.
10 J x I2| Beraudiere oval
12 x 8 Richard Lion "i x 8J „ „
joj x 18 „ „
Pric*. £ m. d.
' 5
0136 O 12 6
36 o o
30 16
18 8 6 10
15 10 44 16 20 16 26 12
19 12
15 15
46 O
16 o
3 13
pair
24 16 o
8 16 o
35 1° o
2 IO O
45° 200
340
400
32 16 o
1600
1800 32 16 o 60 12 o
15 12 O
156 o o
40 o e
35 5 o
15 12 O
3i 5 o
21 5 O
9 15 o
29 12 O
14 5
34 10 o
122 O O
28 O O
66 o o
171
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
|
Year. |
Title. |
Method. |
Size and Shape. Sale. |
Remarks. |
Price. |
||||
|
£ |
s. |
d. |
|||||||
|
1886. |
Gipsy standing holding right hand of a child |
s. |
8 X |
6 |
Richard Lion ... |
|
14 |
O |
0 |
|
Girl's Portrait |
in three chalks |
I2| X |
9f |
n i> |
— |
21 |
5 |
0 |
|
|
M |
Rocky Landscape with |
sanguine and |
|||||||
|
River ... |
bistre |
8J x |
6 |
ii n ... |
— |
M |
10 |
o |
|
|
Maternal Cares |
ch |
it ti .*• |
— |
20 |
16 |
o |
|||
|
Rustic Landscape |
s. |
I4| X |
1C* |
it 11 |
— |
7 |
5 |
0 |
|
|
l887. |
The Rape of Europa... |
— |
12 X |
8 |
Portalis |
— |
20 |
5 |
0 |
|
coloured ch. |
|||||||||
|
Young Girl |
and pastel ... |
Ilf X |
I7f |
, |
— |
104 |
0 |
0 |
|
|
Mythological Figure... |
blk. ch. |
— |
Muhlbacher |
— |
8 |
8 |
0 |
||
|
II |
Maternal Cares |
ch |
— |
n |
pair |
'9 |
4 |
o |
|
|
II |
The Elder Sister |
||||||||
|
The Artist's Dream ... |
s. |
— |
,, |
— |
8 |
16 |
o |
||
|
1888. |
The Shepherdesses ... |
gouache |
9j x |
iij |
Roth |
— |
ii |
4 |
0 |
|
l88g. |
Young Girl reclining |
chalks and |
|||||||
|
playing with Doves... |
pastel |
— |
— |
— |
100 |
o |
0 |
||
|
( ( |
Young Girl's Bust |
— |
— |
Ayerst |
— |
22 |
8 |
0 |
|
|
l8gi. |
Young Girl's Bust Young Girl reclining... |
ch ch |
'3i x i3i x |
18 |
Dod6 ... ... it ... •»> |
|
32 21 |
0 o |
o 0 |
|
1892. |
Daphne and Chloe ... |
— |
12$ X |
14 |
A. Dumas |
— |
72 |
o |
o |
|
M |
Sleep |
s. |
6 x |
8| |
tt |
— |
2O |
0 |
0 |
|
M |
Venus nude, reclining... |
chalk tinted ... |
. — |
,, |
— |
80 |
0 |
C) |
|
|
1893. |
A Muse |
s. |
IlJ X |
i«J |
Denain |
— |
70 |
o |
o |
|
sanguine and |
|||||||||
|
f f |
Cupid and a Rose |
pastel |
— |
,, |
— |
112 |
16 |
0 |
|
|
11 |
Cupid ... |
s. |
16 x |
18^ |
May 13 ... |
— |
8 |
o |
0 |
|
1894. |
Venus and Cupid |
blk. ch. |
— |
Emile Barre |
carved oak frame |
8 |
5 |
o |
|
|
|
M. Dinelli |
|
J |
2 |
Q |
||||
|
1 1 |
Slaves bearing Trophies |
blk. ch. |
8J x |
7i |
O. du Sartel |
|
2 |
O |
0 |
|
Louis XVI. carved and |
|||||||||
|
() |
Cupids on clouds |
blk. ch. |
— |
ii ii |
gilt frame |
16 |
O |
o |
|
|
fj |
Rodogune, Act V. |
||||||||
|
Scene IV. ... |
wash and ink... |
8| x |
5i |
ti M |
— |
8 |
0 |
o |
|
|
1) |
Shepherdess reposing |
blk. and wte.ch. |
— |
Feb. 28 |
— |
I |
7 |
5 |
|
|
1 t |
Two Young Girls |
chalk and pastel |
8f x |
8 |
April 28 |
_ |
4 |
12 |
6 |
|
•» |
Allegorical Composition |
ch |
14 x |
10} |
June 16 j |
sketch for a portrait of } Mme. de Pompadour J |
4 |
0 |
n |
|
,, |
The Little Reapers ... |
— |
— |
General Mellinet |
— |
0 |
*7 |
6 |
|
|
)f |
Young Woman's Head |
P- |
— |
,, |
— |
2 |
17 |
6 |
|
|
II |
Young Woman's Head |
ch |
— |
Henri Baudot ... |
— |
4 |
7 |
6 |
|
|
|| |
Naiades... |
pen |
— |
M ti ... |
studies ... |
2 |
i |
0 |
|
|
11 |
The Little Farmer ... |
— |
2 X 4J |
H. Gamier |
pair |
49 |
5 |
o |
|
|
The Little Fisherman |
|||||||||
|
1895. |
The Bathers |
s. |
— |
Cousin |
|
2 |
7 |
f, |
|
|
The Education of Cupid |
— |
— |
|
_ |
4 |
12 |
o |
||
|
|( |
Two Young Girls |
ch. and pastel... |
— . |
G. Hoche |
|
9 |
O |
o |
|
|
)( |
Study |
s. |
— |
Nov. 26 |
|
2 |
2 |
6 |
|
|
|f |
Study of Cupid |
red and wte.ch. |
16 x |
10 |
Galichon |
|
2 |
2 |
o |
|
M |
Les Fourberies de |
||||||||
|
Scapin |
pencil |
|
Mar. 30 |
on parchment |
3 |
I |
0 |
||
|
11 |
Landscapes |
gouaches |
|
|
pair |
20 |
O |
0 |
|
|
II |
The Little Farmer ... |
— |
2 X |
4j |
H. Gamier |
pair |
45 |
4 |
o |
|
The Little Fisherman. |
|||||||||
|
II |
Venus reclining |
— |
|
Paul Mantz |
|
I |
12 |
6 |
|
|
1896. |
Allegory |
— |
— |
Furby, Marseille |
|
2 |
0 |
0 |
|
|
,, |
Bust of a young girl ... |
coloured chalks |
|
Destailleur |
|
14 |
5 |
o |
|
|
M |
Soldier standing, chat- |
||||||||
|
ting with a Woman, |
|||||||||
|
lying on the ground |
|||||||||
|
holding a Child |
blk. ch. |
— |
|
3 |
12 |
0 |
|||
|
,, |
Cupids playing with a |
||||||||
|
goat |
ch. |
|
... |
_ |
2 |
8 |
o |
||
|
t t |
Oval Cartouche sup- |
||||||||
|
ported by six Cupids |
|||||||||
|
on clouds |
c. |
i7t x |
22} |
|
2O |
o |
o |
||
|
n |
Fame and Truth Justice and other figures |
pen pen, on rose |
,, |
with a medallion portrait of a man between ... |
5 |
12 |
6 |
||
|
paper |
__ |
overdoor... |
6 |
o |
|||||
|
1897. |
Nude Woman, back view |
in three chalks |
|||||||
|
and pastel, |
|||||||||
|
It |
Nude Woman, back view |
yellow paper ch., grey paper |
14} x |
*3l 8J |
DeGoncourt it ... |
|
740 124 |
0 0 |
0 0 |
172
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title.
1897. Nude Woman, full face ,, Nude Woman, reclining back view
,, Adoration of the Shep- herds
,, Bath of Venus, with Cupids and swan
,, Girl in Spanish dress...
,, Girl seated
,, Shepherdess bathing...
,, The Gardener
,, Pastoral, Shepherdess with goat and sheep
,, Vase and Cupids, land- scape background ...
,, The Footbridge, with two Children, one of whom is fishing
,, Farmyard with figures
,, Washerwoman
„ Head of a Young Girl
,, Shepherdess sleeping...
Shepherd Fishing „ Nude study of a Man... ,, Young Woman, front
view, holding a veil... ,, Girl with rose at her
bosom
,, The Monkey Parade ... 1898. Shepherd and shep- herdess Pastoral
,, The Wheelbarrow ...
,, Three Cupids
,, Philamint, and Agnes
„ Julie
Cleante
Philant
,, Four pencil drawing for the Moliere of 1734
,, Cupid on a Cloud
,, Adoration of the Shep- herds ...
,, Medallion supported by Lions and Cupids ...
„ Bust of a young Girl ...
,, Two Draped Female Studies
„ Rape of a Nymph
,, Infant Bacchanals
,, Study, Woman and Cupid
,, Girl seated on a bed, with a soubrette behind a curtain ,, Cartouche surrounded
by Cupids, &c. Cartouche decorated with religiousemblems
„ Two Girls
„ Venus reclining Head of a Girl Bather
,, Venus and Cupids
|
Method. Size and Shape. Sale. Remarks. |
Price. |
|||||
|
£ |
s. |
d. |
||||
|
ch., grey paper |
'4 |
X |
7f DeGoncourt |
24 |
16 |
6 |
|
yellow paper |
||||||
|
heightened |
||||||
|
with blue |
||||||
|
pastel |
nj |
X |
'4 |
240 |
e |
o |
|
— |
i6j |
X |
iii ,, ... sketch on paper |
44 |
o |
o |
|
ch. |
8J |
X |
7l |
116 |
o |
e |
|
three chalks on |
||||||
|
yellow paper |
134 |
X |
9i |
404 |
o |
o |
|
ch. |
X |
9i |
6 |
o |
0 |
|
|
ch. on yellow |
||||||
|
paper |
IOJ |
X |
9j |
34 |
6 |
6 |
|
pastel and chalk, |
||||||
|
blue paper... |
IOJ |
X |
12 „ |
'7 |
6 |
6 |
|
w. |
6} |
X |
8} |
24 |
e |
o |
|
ch. yellow paper |
.04 |
X |
7i |
34 |
16 |
6 |
|
blk. ch. |
12} |
X |
9i |
28 |
16 |
6 |
|
pen, bistre and |
||||||
|
sanguine |
Hi |
X |
8} |
80 |
o |
o |
|
ch. grey paper blk. ch. |
IlJ |
X |
12} Bouillon |
28 8 |
o 16 |
0 6 |
|
P- ) blk. andwte. ch.J |
— |
May 28 |
12 |
o |
O |
|
|
s. |
— |
Dec. 13 ... |
I |
12 |
6 |
|
|
ch. |
— |
|
2 |
O |
O |
|
|
P- |
.. |
De Montesquiou- |
||||
|
Fezensac |
4° |
16 |
6 |
|||
|
gouache |
— |
„ |
16 |
o |
O |
|
|
_ |
9i |
X |
12 Decloux |
152 |
o |
o |
|
— |
,, companion to above .. |
106 |
o |
a |
||
|
|
51 |
X |
8 |
5° |
16 |
6 |
|
— |
8 |
X |
11} „ ... .- |
136 |
8 |
o |
|
s. s. |
4 |
X x |
7} pair 6} ,, ... ... pair |
. 204 124 |
o o |
o o |
|
s. |
*^4 |
X |
7J |
74 |
o |
0 |
|
|
7f |
X |
5} ,, |
1 20 |
o |
o |
|
s. |
7J |
X |
9i |
24 |
o |
o |
|
pen |
6k |
X |
6} |
16 |
o |
o |
|
blk. ch. |
8} |
X |
I0i |
0 |
18 |
6 |
|
in two chalks... |
— |
o |
iG |
6 |
||
|
blk. ch. |
12 |
X |
'si |
6 |
16 |
6 |
|
blk. ch. |
|
— ceiling |
o |
8 |
6 |
|
|
wash and ink... |
— |
— — |
o |
8 |
6 |
|
|
blk. ch. grey |
||||||
|
paper |
10} |
X |
134 |
14 |
8 |
* |
|
ch |
16 |
X |
IO \ |
IO |
'7 |
6 |
|
pen and wash |
— |
| Feb. 7 |
12 |
10 |
6 |
|
|
chalk and pastel |
Hi |
X |
J I7i Marmontel |
8 1 20 |
o e |
o o |
|
three chalks ... |
10 |
X |
5k |
15 |
8 |
6 |
|
coloured paper ch. and pastel gouache |
"1 |
X X |
13} J. de Bryas 8J ' |
592 20 |
o 0 |
0 0 |
173
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year.
1808.
Title.
Method. Size and Shape.
Sale.
Remarks.
1899.
View near Charenton
The Pancakes ... ... pen and bistre
Girl's Head
Pastoral Love
Pastoral Love ... Nymph Awakening Portrait of a Lady Peasant and Child
Reposing Nymph
The Mother
Woman reclining Group of Persons by a
Fountain
The Young Musician ... Psyche and sleeping
Cupid...
Cupids on Clouds
The Water Mill
The Fountain
Adoration of the Shep- herds ...
The Last Supper
Chinese Children play- ing
The Dinner
Triton
Farm Interior ...
Historical Subject
Girl Sleeping ...
Study of Peasant
Nymph and Cupids ...
Spring: an allegory ...
Sleeping Venus and Cupids
The Toilet
Two Children ...
Children's Heads
Head of Young Woman
Venus and Cupid
Head of Young Woman
Woman at a Fountain
Young Girl Sleeping
Virgin and Angels ...
The Harvesters' Siesta
Head of Girl
Woman carrying Child
Portrait of a Girl
The Young Shepherdess
The Little Farmer ...
Vertumnusand Pomona
Cupids on the prow of a boat
Bust of a Young Woman
The Old Man's Calendar
Three Angels' Heads...
The Farmer Resting ...
Head of Sleeping Girl
Nude Male Study
The Toilet
Girl's Head
Vertumnus and Pomona
Landscape with rivulets
The Dinner
Children with Doves ...
Head of Girl
Little Girl with Cat ...
Rodogune
Madame Favart as Gardener
The Little Samplette ...
134 x i6f J. de Bryas
8f x 7i
C. Soyeux
|
— |
— |
Apl. 20 ... |
|
ch |
28} x 24 12 X 8 |
May 3 Marquis de Chen- |
|
nevieres |
||
|
blk.and wte.ch. |
n| X i6J |
i , |
|
blk.ch. |
12 X 8 |
,, |
|
blk. ch. |
12 X 8 |
|
|
— |
11} x I3i |
,, |
|
s. |
— |
|
|
|
12 X 9j |
|
|
oval |
||
|
blk. ch. |
ni x 8} 9i x 15! |
|
|
blk. ch. |
8 x lof |
|
|
— |
of x i if |
11 ... ... |
|
— |
«} x I3i |
i |
|
_ |
8x6 |
|
|
— |
8f x 9f |
,i |
|
|
z |
" |
|
P- |
16 x I2j |
F. Eudel'" |
|
blk.and wte.ch. |
— |
G. Mallet |
|
n it |
I2j X 10 |
,, |
|
— |
— |
May |
|
— |
i6J x 13^ |
Tabourier |
|
in three chalks |
1 6 X 12 |
|
|
wash |
8J x 5J |
,, |
|
— |
16 X 12 |
,, ... ... |
|
— |
— |
November igth... |
|
pen and wash |
— |
ii j i • • • |
|
in three chalks |
— |
March 6th |
|
coloured chalks |
_. |
ii |
|
in three chalks |
— |
it |
|
s. |
— |
|
|
three chalks ... |
— |
,, igth |
|
— |
— |
,, 20th |
|
— |
7i x 6 |
.1 |
|
— |
n| x i3j |
t » > • • • |
|
— |
n| x 7f |
»t . |
|
— |
8| x 6i |
tl 1 |
|
— |
7i X 6 |
It |
|
blk. ch. |
Mene , |
|
|
s. |
14} x loj |
April i;th |
s. three chalks ...
s.
8| x
H. Michel Levy
Lebrun sketch
I5J x I2j G. Muhlbacher... 8 x 5i
10} x 8} „
IOJ X 12 „
Price.
£ .. d.
84 O O
120 O O
7OO
886
640
40 o o
640
60 o o
40 o o
32 o o
786
10 16 6
13 12 6
56 16 6
29 8 6 24 o o 28 o o
64 o o
14 16 6
24 16 6 50 o o
400 1600
34°
44 4 °
12 8 6
28 16 6
54°
2 13 O
10 O O
286
11 8 6 94 o o
o o
142
8 o
42 o
4 8
12 4 O
106 o o
68 4 o
41 0 o
48 o o
60 8 6
52 o o
9 12 6
100 o o
n 16 o
886 12 8 6
700
21 O O
27 4 o
840
52 o o
600
10 O O
16 12 6
400
508 o o
120 o o
24 o o 31 4 o
174
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title.
1899. The Return to the
Farm, night ...
,, Diana & Nymphs bathing
„ Shepherd playing Flute
, , Head of Young Woman
,, Venus and Cupid
,, Pastoral Scenes
„ Mythological Subject... ,, Rape of Dejanera
The Departure of
Esther
,, Nymphs and Cupids ... „ Lady on a Terrace
,, Nude Woman
„ Shepherd and two
children
„ Shepherdess seated ... The Return from the
Market
St. Peter and Paul
healing the Blind ... ,, The Return of Tobias
Nude Woman Sleeping I goo. Rape of Dejanera ,, Six Oriental Heads ... „ Fisherman on the banks
of the Seine ...
Male Study
„ The Fountain
,, Young Peasant Woman
and Child blk. ch.
„ The Cupid's Suicide ... „ Joseph sold by his
Brothers
„ An Angel
„ Dauce receiving the
Shower of Gold ,, Woman Reclining,
back view
,, The Nativity
„ Woman seated, draped ,, Nude Man Reclining... ,, Study of a Woman ...
Cottage with Mill ,, The Flower Girl ... coloured
1903. Apollo and Daphne ... red chalk ,, Venus with Cupids
and Doves w.
, , Venus and Cupid ... crayon ... ,, A Group of Cupids ...
1904. Heads of Children ... p.
,, The Predication ... blk. and wte. ch. „ Young Woman ... s.
,, Pastoral blk. and wte. ch.
,, Young Chinese Girl ... w. and pastel... „ Young Chinese Girl ... w. and pastel... „ Nymph and Cupid ... crayon
1905. The Reader
,, Pastoral
A Bather
,, Pastoral
Flora and Zephyr ,, Portrait of Alexandrine
de 'Etiolles
,, Venus and Adonis
,, Bust of a Young Girl...
,, The Assumption
„ Bath of Danae
,, Hercules and Antaeus...
,, The Adoration of the
Shepherds
Method. Size and Shape.
Sale.
Remarks.
May 23 ...
7i X5i
47
47
36 June 6th ... 36
G. Deloye
pair
sketch sketch
Sir W. Eden,
London Nov. 23
de la Rochenoire 5J x 8J Calando
io* x 7i I4j X 10
uj x 15 Feb. 26 ...
13} x 18 B. de Fulde
March 19 26 x 26f ,, 31
24i
Fraissinet April 28 ...
Defer-Dumesnil
Guyot de Ville- 12 x i8J neuve ......
June 14 ...
.. 27 ......
Charcot ......
Hi x i8J Dec. 17 ......
«} x 16 „ ......
Herzog ...
Paris, Feb. 23 ... 14 x 12 oval Page Turner
Paris, May 9 ...
Paris, Dec. 15 ...
Marne ...
Paris, May 26 ...
Paris, Dec. 16 ... two Paris, Feb. 19 ...
M. Beurdeley ...
7* x 6
Price. £ I. d.
986
12 8 6 6OO
17 o o 500
26 o o
30 8 6
52 o o
24 16 6
22 16 6 600
52 o o
18 o 6
400
13 4 o
800
29 4
24 o o
4 16 6
36 16 6
5 12 6 28 16 6
540 28 16 6
36 o o 10 o o
680 o o
7 12 o lo 16 o
95°
800
1600
IO 12 6
680
24 IO o
26 5 o
IOO O O
56 o o
260 o o
52 o o
160 o o
68 o o
112 o o
74 o o
204 o o
40 o o
32 15 °
84 o o
80 o o
66 o o
60 o o
464 o o
68 o o
42 o o
49 o o
48 o o
60 o o
175
PICTURES AND DRAWINGS SOLD BY AUCTION— continued.
Year. Title.
1905. The Well
,, Shepherdess seated ...
Quos Ego
1906. Venus ...
,, Nude woman sleeping
,, Nymph and Cupid ...
,, Venus sleeping
,, The Young Flower Girl
,, The departure for
Market
,, Ladies and Children ...
,, Ladies and Children ...
,, Blindman's Buff
1907. Cupid on a cloud ,, Cupids ...
„ Young girl
„ La Bergere au Cceur ...
Method. Size and Shape.
Sale.
Remarks.
ch. ch. ch.
ch.
red ch.
crayon .
M. Beurdeley ... Paris, Dec. 13 ...
14 X lof Bowyer
Paris, Mch. 29 ...
May 16 ..
,, May 4 ...
19 x 15 London, May 7... Muhlbacher
14 x 17^ London, May 27 Sedelmeyer Paris, Nov. 25 ...
Price.
£ •. d.
124 o o
108 o o
56 i o o
105 o o
104 o o
226 o o
164 o o
80 o o
80 o o
86 o o
I2O O O
29 8 o
240 o o
25 4 o
82 o o
408 O O
ABBREVIATIONS.
p.— pastel, blk. and wte. ch.— black and white chalk, s.— sanguine, g.— grisaille, col. ch.— coloured chalk.
ch. — chalk, b. — bistre, w.— watercolour.
NOTE :— A certain section of this list is based on the list of Boucher sale prices in Dr. Mireur's " Dictionnaire
des Ventes d'art."— W.G.M.
176
"T/ie Connoisseur''' Extra Number, No.
DEBENHAM £? FREEBODY
STl'Akl ]• MHKOIDI Rl- 1) Ph'll'Kl- IN 1-INH COI.orKINl I-RAM1-D. SI/I- 14 IN. l:v 10 IN
A\ l-MBROIDERF.n IMCTt KK. VERY FINE STITCHING
AND r.Ot M) OH. OL' RING. I'KAMKD. SIZK 15 IN. HV 17 IN.
have for sale in their Antique Show Rooms a col- lection of rare embroideries and curios, which includes many fine Stuart Caskets and Framed Pictures now
so difficult to obtain ; also Sicilian and other laces from the convents of Italy and Spain, which can easily be adapted for domestic pur- :: :: :: poses :: :: ::
STUART CASKET IN FINK HEADS SIZE 6i IN. UY 9 IN. 6.^ IN. DKK1'
STUART EMHKOIDKKKD BOX WITH F.U-I, FRONT
AND IJKAWEKS SIZB 10 IN. BY II IN. 6J IN. DRKP
STfART EMBROIDERED HllX WITH DRAWERS SIZE 14 IN. ]<Y 10 IN. 8 IN. DEK11
WIGMORE STREET, LONDON, W.
"The Connoisseur" Extra Number, No.
C. STEVEN
has always on view an interesting selection of
rims * * otterp « orcelain
Also a number of Curios, of interest to Collectors and others, at low prices
27, King St., Gheapside,
LONDON, E.G.
Good Stock of Old Portraits, &c., for Extra Illustrating
REPAIRING OLD CHINA, 8e., A SPECIALITY
BRONZE BOWL, ABOUT 2,000 YEARS OLD.
Found on the site of the Prehistoric Lake Village, at Godley, near Olastonbury. [Reg- No. 333891.
Dealers
in An'iques.
Jewellers, , -{. V Silversmiths,
V d? tc.. k.
COPIES IN SILVER AND I1KONZE CAN BE OBTAINED OF
FRANKLIN, HARE, & GOODLAND, Ltd.,
PARADE, TAUNTON,
Who are, by exclusive permission of the Gliislonbury Antiquarian Society THK SOLE AUTHORIZED MAKERS.
Old
Sheffield Plate
Third and Enlarged Edition :: By W. Sissons
The First & Best Guide for Collectors Post Free 2/8
— From W. SISSONS =
77, St. Mary's Road, SHEFFIELD
' The Connoisseur " Magazine Genealogical 8 Heraldic Department
Special Notice
READERS of THI-: CONNOISSEUR who desire to have pedigrees traced, the accuracy of armorial bearings enquired into, paintings of arms made, book plates designed, or otherwise to make use of the department, will be charged fees according to the amount of work involved. Particulars will be supplied on application.
When asking information respecting genealogy or heraldry, it is desirable that the fullest details, so far as they may be already known to the applicant, should be set forth.
Only replies that may be considered to be of general interest will be published in these columns. Those of a personal character, or in cases where the applicant may prefer a private answer, will be dealt with by post.
Readers who desire to take advantage of the opportunities offered herein should address all letters on the subject to the Manager of the Heraldic Department, at the Offices of
"The Connoisseur" Magazine, 95, Temple Chambers, Temple Avenue, E.G.
Important Notice to Private Collectors.
THK "Connoisseur" Register is
kept exclusively for private individuals desirous of selling or purchasing works of art and curios.
The advertisements appear under a number, and replies are received at THE CONNOISSEUR Office, and then forwarded to the advertiser. The charge is only 2d. per word, and there is no minimum.
For further particulars see page iv. of each issue, or write to the Advertise- ment Manager of THE CONNOISSEUR,
95, Temple Chambers, E.G.
n.
" The Connoisseur" Extra Number, No. 4
MAPLE
LONDON
co
BUENOS AIRES
PARIS
E.XAMPLK OF A I)lNIX(, ROOM MY MAPI E IN THE SERIES OF FURNISHED ROOMS ON EXHIBITION AT TOTTENHAM COURT ROAD, LONDON
DECORATIVE SCHEMES & ESTIMATES FREE ENGLISH & FRENCH CATALOGUES ON APPLICATION
THE LARGEST FURNISHING ESTABLISHMENT in the WORLD
"The Connoisseur" Extra Number, No.
D. GIBSON,
Antique Furniture Dealer,
2f Castle Terrace, .Edinburgh.
(.Opposite
Caledonian Station
Chippendale and Sheraton Sideboards,
Grandfather Clocks, Chippendale Bureaus, Corner Cupboards, etc., etc,
BRASS - PEWTER - OLD CHINA
ROBERT SCOTT
19, Albert Square, DUNDEE
HIGH-CLASS PICTURES ORIGINAL :: ETCHINGS
BY
REMBRANDT n MERYON t; WHISTLER SEYMOUR HADEN tt D. Y. CAMERON
— . ETC.
Antique Furniture - China - Ivories
R. MORRISON,
Antiquarian Repository, 130B, NETHERGATE, DUNDEE.
it it tt DEALER IN it it tt
Antiques and flrt Objects, furniture, flrmour, China. Silver, .iciuclicrc, patch and Snuff Boxes.
EXPERTS Estd.
in Restoring-, Relining, and Varnishing Oil Paintings.
Engravings, Prints, &c., Restored, Cleaned, Mounted and Framed. Old Frames Restored and Re-gilt.
L A M
1SS1 EXPERTS
in Restoring and Repairing valuable China and Glass. Also for
Adapting and Mounting NEEDLEWORK for Screens, Pictures, Trays, &c.
LAMBERT
Antique China. Fine Old English Cut and Engraved Glass.
WANTED: Collection of Old Postage Stamps. RARE COLLECTION OF SPLENDID OLD FURNITURE
IN OAK, CHIPPENDALE, ETC. -
All Sorts of ANTIQUE ARTICLES 'BOUGHT.
Bronzes. Ivories.
Fine Old Prints.
Old Brass. Curios.
Modern Engravings.
E R T
PICTURES of every
description ON SALE.
Also MOUNTED and
FRAMED in any style.
Best Workmanship. Reasonable Charges.
THE WELLINGTON GALLERY,
100, KNIGHTSBRIDGE, S.W.
VOLUMES OF "THE CONNOISSEUR."
A Bound Copy of " The Connoisseur " is a most delightful
Gift Book, and is a source of pleasure for all time, as the
articles are written to interest as well as instruct.
The four qualities of Binding are as follows : —
No. 1. Etruscan Red, Art Canvas • • • •
No. 2. Gold Panelled Lambskin •
No. 3. Real Royal Niger Leather • • •> •
No. 4. Full Morocco •••••••
Vols. Vols.
I. to IV. V. to XXI.
11/6 7/6
16/6
251- 27/6
12/6
2 1/- 23/6
The Prices of the first Four Volumes are as shown owing to the first Sixteen Numbers having been raised to 2/- each.
To be obtained through all booksellers or Newsagents, or from the Publishers,
"The Connoisseur," 26, Bouverie St., Fleet St., E.C.
IV
" The Connoisseur'" Extra Number, No.
Jr
t
«*3§^ * '^^A.v
— >^ '* -^^ .v
^ *v
DECORATIVE * INTERIORS
To produce a perfect effect a room should be decorated and furnished in one style. Warings are pre-eminent in this Period Work because their Studio is unequalled, both in intimate knowledge of the styles and in the practical application of those styles to modern conditions of convenience and comfort.
\
to
to
Owners of town and country houses requiring complete or partial refurnishing can obtain from Warings schemes and estimates without incurring any liability. They may be sure of getting a distinctive and charming result at a most reasonable outlay.
\ WARINGS
DECORATORS TO THE KING
London Liverpool Paris Madrid Montreal t,fa
JF
,M
V.
"The Connoisseur" Extra Number, No.
OLIVER BAKER,
Stratford=on=Avon.
Old Chippendale Settee
nglish furniture
PEWTER POTTERY BRASS IRON-WORK, 6c.. 6c.
M. J. DAVIS,
32 & 34, Long Miflgate
(POET'S CORNER),
MANCHESTER.
Good selections of old Oak
and Chippendale Furniture
always on hand.
High'Class early Pottery and
China and spiral stem Wine
Glasses a speciality.
N.B. — The Trade supplied.
'AIMTIBLUME'
A BOON TO PICTURE DEALER AND RESTORER.
This Medium prevents mastic varnish from repeated Blooming: and saves endless worry and expense.
1O oz. BOTTLE (with instructions) 5 -
T. ROWLANDS
PRACTICAL PICTURE RESTORER AND RELINER TO THE TRADE
75, OXFORD STREET, MANCHESTER
GEORGE NEILSON,
Holyrood Square, EDINBURGH.
ALL KINDS or
ANTIQUE FURNITURE Chairs and Sideboards
. . ... <>f the Best Periods and
in Its Original Condition. Stylos in «reat variety.
On Hand— Mason's Ironstone Dinner Service. 225 pieces.
OLD ENGRAVINGS AND PAINTINGS FRAMED AND RESTORED
Ernest AM?n 39> KING'S ROAD- i-nicbi .ruaen SLOANE SQUARE, s.w.
Correct Framing of French & English Prints a. speciality Buyer of Prints and Engravings. Telephone, 1-I1H Victoria.
DANIEL EGAN,
26, LOWER ORMOND QUAY, DUBLIN.
FRAME MAKER & GILDER TO THE NATIONAL GALLERY OF IRELAND.
Modern and Antique Frames (or Pictures and Looking Glasses Oil piinlings cleaned lined, and restored. Prinls cleaned and bleached. A large Collection of Old Furniture. Painlings, Coloured Prinls, and Drawings
FREDERIC WROE,
IJKALER IN —
Works of Fine Art, Engravings, Etchings, Colour Prints, Sc.
PAINTINGS and DRAWINGS by Eminent Modern Artists.
38, South King Street, Cross Street, MANCHESTER.
FRED TODD,
jDccorator.
ANTIQUE CHINA, FURNITURE, &c., Bought and Sold.
SCARCE MODERN ARTISTS' PROOFS, ETCHINGS and MEZZOTINTS.
WRITE FOR CATALOGUE.
MATTHEWS g BROOKE, Market St., BRADFORD.
Brogden St. & Buxton Place, ULVERSTON.
SIMMONS & WATERS
Book and Print Dealers
10, Spencer Street, LEAMINGTON SPA
BOOKS AND PRINTS BOUGHT CATALOGUES GRATIS
E. HARRISON,
47, Duke Street, Manchester Square, W.
(Ci-osH TO WAI.I.ACK COLLECTION.)
WANTED.— Genuine Old Hunting, Racing, and Coaching Paintings and Engravings.
VI.
" The Connoisseur''1 Extra Number, No.
The LARGEST STOCK of GENUINE ANTIQUES IN LONDON
Telephones GERHARD |
Telegrams— 'REQUIRABLE, LONDON.1
'ART TREASURES," a Guide to the Collector of Genuine Antiques. 92 pp., finely illustrated, post free 1/- in stamps.
A specimen Antique "Adam" Pedestal Sideboard complete with Urns. An exceptional piece.
GILL & REIGATE
73 to 85, OXFORD STREET, LONDON, W,
Replica of Ancient Roman Cup, original (in gold), found in the Island of Gothland Height 5 Ins., diameter 5 ins. ^*5 S O
"The Connoisseur" Extra Number, No. 4
GOULDING & GO.
George Street, Plymouth
ART SILVERSMITHS ART JEWELLERS :: GEM SPECIALISTS
Old Furniture, China, Sheffield Plate, Curios
AT VKHY LOW PRICES
STATK REQUIREMENTS
Special -Fine Old Enamel Cornucopia
Thos. BAKER, Esplanade, WEYMOUTH
REAL LACE HOUSE
Point de Duchesse Collar
J. PINTNER
Real Lace
Manufacturer
(Scottish Exhibition, Stand 204)
Crochet Work aSpeciality
I22A George St. EDINBURGH
Extra Numbers of "THE CONNOISSEUR."
Published at FIVE SHILLINGS NET. Bound, SEVEN and SIXPENCE.
Postage 6d. extra on each Number.
George Morland
(Biographical Essay) by J. T. HERBERT BAILY
John Downman
(Life and Works) by G. C. WILLIAMSON, Litt.D.
Francesco Bartolozzi, R.A.
(Biographical Essay) by J. T. HERBERT BAILY
Each of these beautiful Boohs contains about 100 illustrations of the artist's works, including many full=page plates in colour.
No similar works for the price have previously been published. To be obtained from all Booksellers, or the Publishers :
"THE CONNOISSEUR/' Carmelite House, E.G.
VIII.
"The Connoisseur" Extra Number, No.
BY APPOINTMENT
MANCHESTER
JOHANNESBURG
PARIS BIARRITZ N|CE O O O
Sheffield Plate at "Sheffield House."
Examples of Fine Old Sheffield Plate Models now in Stock.
V
M?\ppm BRO/; INCORPORATE p,
Write for C1 Booklet, post free.
"The Connoisseur" Extra Number, No.
ARTHUR HALLIDAY,
Hatchlands Road, RED HILL.
Art
Furniture Maker to H.M. The King.
Dealer in Antique Furniture and China.
View of one of the Galleries
G. O. HUGHES.
Will COLLECTORS, CONNOISSEURS, and OTHKRS rcc]iiiring fine pieces of FL'KNITURE, PLATE, CHINA, and other antiques send their wants to G. O. HUGHF.S, as lie has special facilities for ob- taining these goods. Prices are strictly moderate.
:: :: ALSO BUYER OF ABOVE GOODS. :: ::
Special. — OFFERS WANTED for following pictures: >I. Crome, "Landscape"; C. F. Bucklev, "Land- scape''; T. Creswicli, "Coast Scene, with Figures" ; Holland, ''Venetian Scene" ; J. Both. " Landscape, with Figures and Cattle."
2a, The Pantiles, Tunbridge Wells.
. JL*. JL/»
(ART, LITE, and LITERATURE).
FOR PARTICULARS OF
Picture Exhibitions and Literary S Debating Circles,
APPLY :
Little Salon,
Gallery Van Brakel,
56. Albemarle St., W.
For aboVe and Vacant dates for Exhibitions, address "Director, in full.
THE CRAVEN ART GALLERY
(RussEi.L STAXTON, Proprietor)
— _- -_ _-_ "~^JLg — _-_ _~
Expert Picture Restoring
Now ON VIKW —
A Portrait Group of Sir Walter Scott and Family,
attributed to SIR THOS. LAWRENCE.
23, Craven Street, Strand, W,C
WM.T.WHITE,
Dealer in antique furniture
38-46, Lady Lawson Street,
= EDINBURGH.™
"The Connoisseur" Extra Number, No.
No. 2670.
Blue, Violet, or Green Morocco Dressing Cuse, for a Lady, fitted all plain Sterling Silver, only 18 Guineas.
J. C. VICKERY
Their Majesties'
SILVERSMITH. JEWELLER AND DRESSING CASE MANUFACTURER
179, 181, & 183, Regent St.,
LONDON, W.
A FITTED DRESSING CASE OR SUIT CASE
IS
AN IDEAL WEDDING GIFT
J. C. VICKKRY has a splendid selection
at all prices, from J£_IO to J£.I50, and invites
the favour of a visit of inspection, or
kind enquiries by post.
Novelties in all Departments.
DORRINGTON & DAVYS,
Gold and Silversmiths.
ANTIQUE DEALERS.
Genuine Chippendale Chairs, 9 Sinai) and i Ann.
10 & 11, CATHEDRAL LANE, TRURO.
I. C. FUZZEY LTD.
20 to 24, Mill Street, and Bordage . . .
WE hold a GREAT VARIETY of
Chippendale, Sheraton, Queen Anne,
Elizabethan, Old English Carved Oak,
French Carved Oak, Old China, &c.
I C. FUZZEY Limited, GUERNSEY
BY SPECIAL APPOINTMENT
HAMILTON-FINCHES-
< ' • Silversmiths • cH't'lkry £.' Diamond Mcr
• 88 PRINCES STREET EDINBURGH
JCl,
"The Connoisseur" Extra Number, No.
, —
Stettin Castle, Panel 28 x 24. Pn'ce>250 Guineas. J. M. W. Turner 1821.
The Noted Fine Art & Curiosity Dealer,
22, MAGDALEN ST., and
LONDON INN SQUARE,
EXETER.
V* 10* ^*
antique furniture, ©l& Cbina,
paintings anfc Curios, £c, bougbt
anfc solfc.
INSPECTION INVITED.
2,500 PICTURES TO
SELECT FROM.
j* j* j*
Catalogues and Valuations arranged.
ESTABLISHED 1835.
For Genuine Old Pottery try
THE OLD CHINA SHOP, JOHN MAGGS,
Church Street, FALMOUTH.
Genuine antique Furniture
LARGK STOCK AT MO15ERATK PRICES.
Photos and Catalogues on application. —
Specialist in Restoring Old Furniture and Oak Fitments. C. ANGELL, 8, Abbey Churchyard, BATH.
AND SPARKLING
MALVERN
SELTZER, / />
SODA, POTAS ri/>__ / &
<%&?&&
-^»
W. J. M'COY & SONS, LTD.,
Dealers in antiques, SMITHFIELD - - BELFAST.
Established 1860.
ST. NEOTS. Hunts.; and BEDFORD.
A Special Show of Antique Furniture, Pictures, Glass, China, and Sheffield Plated Goods. Many interesting goods for Collectors.
The Trade Supplied. Address : ST. NEOTS & BEDFORD
WM. BOWDEN,
16, Bitton St., Teignmouth,
Dealer in HIGH-CLASS PAINTINGS, DRAWINGS, and PRINTS.
Mr. ALF JONES, Jfrtist,
28, HENRIETTA STREET, BATH. EXPERT IN PICTURES.
Specialist in Restoring Old Paintings. Pictures Restored at Clients' own houses at moderate charges. Excellent Testimonials.
VALUATIONS MADE FOR PROBATE, INSURANCE, &c.
XII.
"The Connoisseur" Extra Number, No.
Write at once for a Profusely Illustrated
Catalogue of Pictures
To MeSSrS. FROST & REED, 47, Duke Street, London, S.W. ; 8, Clare Street, Bristol ; and 47, Queen's Road, Clifton, the well-known publishers of high-class ETCHINGS and ENGRAVINGS, which may be obtained from any PRINTSELLER throughout Britain (or direct from Frost & Reed), who will be pleased to forward, post free, their latest ILLUSTRATED CATALOGUE, containing more than 190 notable pictures, on receipt of P.O. for I/- (which will be refunded if a purchase be made).
Established 1808.
LAWRENCE $ THOMPSON
taao),
Dealers in Antique Furniture, China, Glass, fie.,
TAUNTON.
Enquiries Solicited.
Six and two Arm Chairs in fair condition, £20 0 0
ANTIQUE FURNITURE, CHINA, SILVER
AND WORKS OF ART
William and Mary Arm Chair in original needlework.
W. F. GREENWOOD & SONS, Ltd.,
23 & 24, STONEGATE, YORK.
BRANCH : 10, Royal Parade. HARROGATE. Established 1829.
XIII
"The Connoisseur" Extra Number, No. 4
GEO. PULMAN £rSONS, CD
Art £r Mercantile
PRINTERS
and Manufacturing Stationers
THE CRANFORD PRESS
24, 25, 26, 27, Thayer St., London, W., €r Wealdstone, Middx.
All the "Connoisseur" Extra Numbers: "Lady Hamilton," "George Morland," "Francesco Bartolozzi," "John Downman," and "Boucher" were printed at
THE CRANFORD PRESS
The
" Connoisseur" = Plates =
FOR DECORATION or THE HOME.
to the frequent demand, by Sub= scribers, for loose copies of the Plates issued with The Connoisseur, the Editor has prepared a list of those that have appeared, and of which copies can be obtained at 6d. each, or 4,6 per doz. Special terms to the Trade for not less than 100. For List see Advertisement Page L. in the April Number.
Applications to be sent to —
THE "PLATE DEPARTMENT,"
= 95, Temple Chambers, London, E.C. =
The
"Connoisseur" = Magazine •=
Is Published on the First of each Month by Otto Limited, at 26, Bouverie St., Fleet St., E.C.
Subscriptions: Inland, 16/=; Foreign, 17/»! to Canada, 14 = per annum. Published by Gordon & Gotch, in Australia and New Zea- land ; by The Central News Agency in South Africa ; by Wheeler & Co., in Bombay and Calcutta; by the International News Co., in U.S.A. ; and by Saarbach's News Ex- change, Mainz, Paris, and Milan, in Europe.
XIV
"The Connoisseur" Extra Number, No.
THE . . .
TELEPHONE 297
Tunbridge Wells Art Gallery
42, CALVERLEY ROAD
Works by
F. WHEATLY, A. CUYP, CRESWICK, D. COX,
C. LANDSEER, PANINI, G. NORLAND,
COOPER, MILLAIS, S. BOUGH,
J. STARK, and others. Offers are wanted for the following
IMPORTANT GALLERY PICTURES
Liberality and Modesty .. .. Guido Rheni
The Nativity . . . . . . Degrebber
Death of Edward III ..... C. Landseer
Industry .......... Mercicr
The Immaculate Conception . . Murillo
For further particulars apply to J. Ncwns, Proprietor,
ONE .MAN SHOWS ARRANGED to suit ARTISTS.
Galleries ael,nowleJe.ecl to he the best for the exhibition of pictures in Kent.
PICTURES TAKI-:\ ON EXHIBITION and SALE.
A vury small commission only charged.
Not
PORTRAIT E LADY
Y SIR PETER LELV.
WHITMORE. (Offer Wanted.)
™, j. NEWNS,
•fine Hrt and Hntique Dealer,
42, Calverley Rtl., TUNBRIDGE WELLS
And 28, High Street -late A. Smithcrs
WALTER PRATT
House Decorator & General Contractor,
8, BARTLETT STREET, and 35, GAY STREET,
— BATH. =
Estimates Free in Totvn and Country.
Nat. Telephone, 421.
W.A.PENNINGTON
Dealer in
ANTIQUE II Alii HI OLD CHINA AND CURIOS.
College Court
(Nr. Cathedral),
GLOUCESTER.
Elizabethan Carvi-d Oak Court Cupboard.
XV.
" The Connoisseur'1'' Extra Number, No. 4
A List of the Principal Subjects dealt with in "The Connoisseur" Magazine, giving the number of the Magazine in which the Articles have appeared from the commencement to August, 1908, Nos. 1 to 84
All the numbers can be obtained from any Bookseller or Newsagent, or the
Publishers, 26, Bonverie Street, B.C., u-ith the exception of Nos. 41, 48, 49,
52, and 56, which are at present out of print.
ARCHITECTURE
45, 47.
ARMOUR
12, 16, 30, 31, 35, 42, 80, 81.
AUTOGRAPHS
83.
BOOK PLATES
8, 10, 53, 59.
BOOKS
5, 12, 13, 15, 1(S, 23, 24, 52, 55, 64, 68, 76, 82, 84.
BRASS AND BRONZE
17, 32, 35, 68, 70, 75, 76.
COINS AND MEDALS
2, 5, 8, 25, 27, 38.
ENGRAVINGS, PRINTS, ETCHINGS
1, 5, 9, 17, 20, 26, 27, 30, 38, 39,41, 43, 48, 49, 52, 56, 59, 62, 63, 66, 68, 74, 75, 76, 77, 78, 79, 80, 82, 83.
FANS
2, 25, 51, 70.
FURNITURE
9, 13, 17, 23, 24, 25, 26, 27, 28, 29, 33, 34, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45,
46, 47, 48, 49, 50, 51, 52, 53, 55, 56,57, 64, 65, 66, 68, 72, 77, 81, 83, 84.
GLASS
4, 7, 16, 37, 57, 72.
GOLD, SILVER, AND PLATED WORK
1, 4, 8, 12, 14, 15, 19, 21, 22, 24,26,27, 31, 33, 35, 40, 43, 45, 50, 51, 54, 55, 58, 61, 62, 65, 67, 69, 71, 74, 75, 76, 77, 78, 81.
HERALDIC
22.
IRON AND METAL WORK
9, 26, 28, 31, 49, 54, 60, 64, 69, 75, 76, 82.
IVORY
19, 34, 83.
JEWELLERY
1, 13, 15, 16, 17, 18, 20, 64, 75, 80.
LACE, EMBROIDERY, AND NEEDLEWORK
1, 3, 4, 6, 7, 21, 22, 23, 28, 29, 36, 41, 42, 43, 47, 48, 50, 51, 52, 53, 55, 56, 57, 58, 59, 61, 63, 65, 66, 67, 69, 74, 79, 80,
82.
MINIATURES
2, 19, 39, 52, 57, 64, 65, 67, 69, 70, 71, 72, 78.
MUSICAL INSTRUMENTS
2, 10, 32, 33, 39, 50, 76.
PAINTERS AND PAINTINGS
1, 4, 5, 6, 10, 11, 13, 14, 16, 17, 20, 21,
22, 23, 24, 25, 26, 27, 29, 30, 31, 32, 33,
34, 35, 36, 37, 38, 39, 40, 42, 44, 45, 48,
49, 53, 54, 57, 58, 59, 60, 61, 62, 63, 64,
65, 66, 67, 68, 69, 71, 74, 75, 76, 77, 80, 81, 82, 83, 84.
PEWTER
15, 18, 20, 22, 23, 35, 52.
POTTERY, PORCELAIN, AND CHINA
1, 2, 3, 4, 6, 8, 11, 12, 13, 14, 15, 18,
19, 20, 21, 23, 24, 25, 26, 28, 29, 30, 31,
32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 43,
44, 45, 50, 51, 52, 55, 57, 59, 60, 61, 62,
63, 64, 65, 67, 68, 69, 70, 73, 75, 76, 77,
78, 79, 80, 82, 83, 84.
SCULPTURE AND WOOD CARVING
13, 22, 27, 31, 42, 52, 56, 62, 82.
TAPESTRY
9, 16, 17, 19, 27, 28, 73.
XVI.
" The Connoisseur" Extra Number, No.
PRESENTATION PLATE to
Annual Subscribers of " The Connoisseur Magazine11
Annual Subscribers to THE CONNOISSEUR MAGAZINE fop twelve months from September or October, 1908, will receive as a Presentation Plate a Photogravure Reproduction of this Picture
Lady Harriet Clive, by Sir Thos. Lawrence, R.A.
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Subscribers for the ready bound volumes will also receive the Plate. The Subscription Price for the United Kingdom, including postage, is 16/=
XVII.
"The Connoisseur" Extra Number, No.
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XVIII.
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Mac fall, Haldane Boucher