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GALLERIES OF M. KNOEDLER & CO, 556-558 FIFTH AI/ENUE, near 46th St. NOVEMBER 29th to DECEMBER nth INCLUSIVE 1915

ARTISTS AND ENGRAVERS MENTIONED INi THIS CATALOG WITH THE DATE OF BIRTH AND DEATH AS NEAR AS POSSIBLE.

FRANCOIS-GERMAIN ALIAMET 1734-1790 Worked in conjunction with Moreau le jeune PIERRE-AXTOIXE BAUDOUIN 1723-1769 1602-1674 PIERRK-I'lilLIPPE CHOFFARD 1730-1809 JACQUES COUCHfi 1750-? JEAN DAMBRUN 1741- ? JEAN DAULLE 1703-1763 FRANCOIS DEQUEVAUVILLER ?-after 1784 NICOLAS DE LAUNAY 1739-1793 Pupil of Lempereur ROBERT DE LAUNAY 1754-1814 JEAN LOUIS DELIGNON Date ? Pupil of N. de Launay PIERRE DREVET 1663-1738 3 ANTOINE-JEAN DUCLOS 1742- ? GERARD EDELINCK 1640-1707 ETIENNE FIQUET 1719-1794 HONORE FRAGONARD 1732-1806 CHARLES ETIENNE GAUCHER 1741-1804 J. F. GUILLIBAUD

HENRI GUTTENBERG 1745-1793 about NICOLAS HABERT Born about 1650-? LOUIS-MICHEL HALBOU 1730 d. after 1792 ISIDORE-STANISLAS HELMAN 1742-1806 ROBERT-FRANCOIS INGOUF LE JEUNE 1747-1812 D. KLEIN Probably born in Danzic where his father died in 1744 VINCENT MARIE L'ANGLOIS LE JEUNE ? LAMBERT OR LEBERT Second half of XVIIIth Century 4 NICOLAS LAVREINCE His name will be found spelled in many different ways upon prints. His real Swedish name was Nicolas Lafrensen; he was born in Stockholm, Oc­ tober, 1737, and died in the same city the 6th of De­ cember. 1807. His pictures, principally in Gouache, were scenes in the boudoir—they were much in de­ mand, holding an exalted position among the artists of l'age gallant. FERDINAND LE VIEUX. (His real name was Louis Elle.) 1612-1689 JACQUES-PHILIPPE LE BAS 1707-1783 1619-1690 PETER LELY (born Peter van der Faes) 1618-1680 GORGES MALBESTE 1754- ? PIERRE-ANTOINE MARTINI 1739-1800 Pupil of Le Bas MADELEINE MASSON About 1660; living 1711 AXTOIXE MASSON 1636-1700 NICOLAS MIGNARD 1605 or 8-1668 1610-1695 JEAN-MICHEL MOREAU (known as Moreau le jeune) 1741-1814 ' 5 ROBERT NANTEUIL 1623 or 30-1678 JEAN-BAPTISTE PATAS 1748-1817 1659-1743 ANTOINE LOUIS ROMANET 1748-1781 AUGUSTIN DE SAINT-AUBIN 1736-1807 JEAN-BAPTISTE SIMONET 1742-1810 LAURENT DU SOUR

N. THOMAS ? d. after 1783 LOUIS TOQUfi 1696-1772 ROBERT TOURNIERES 1668-1752 FRANCOIS DE TROY 1645-1730 GIRARD VIDAL 1742-1804 FERDINAND VOET 17th Century Flemish Painter who settled in , where he painted from 1640-1691 and was appointed to the Pontificial Court. NICOLAS JOSEPH VOYEZ L'AINfi 1742-after 1783 JEAN-GEORGE WILLE 1715-1807 6 Robert Nanteuil

HE French School of portrait en­ graving began about 1625 and con­ tinued without a break clown to the Revolution. With the exception of the English School of mezzotint, no other school of engraving can ap­ proach this lifetime of nearly two centuries. It was the most important in Europe. It had supplanted the Dutch and German etchers and engravers. France had for a long time lacked artist- engravers ; they had never before, nor have they since, occupied such a high position. It is most remarkable that line engraving should have superseded the great etchings of Rembrandt and other masters, but such was the case. This peculiar phase of art owed its naissance and life to Robert Nanteuil, b. 1623 or 1630 d. 1678. He was the real founder of the dynasty of French portrait engravers; he was the one who developed it and set it firmly on his throne. Like many men who have made their mark in a field entirely opposite to the one which their parents had planned for them, for Robert's father was a merchant of Rheims who edu­ cated him for a lawyer; his inclination, however, turned to drawing; he became acquainted with an en-

7 graver of Rheims, viz.: Nicolas Regnesson, who taught him the rudiments of the profession. Inci­ dentally he married in 1647 Regnesson's daughter. The plates engraved at this period partake of the style of Claude Mellan, a painter-engraver, who lived from 1598-1688. Nanteuil's first portraits were done in 1648, the year he came to . A word relating to the artist Mellan. He was one of the first to intro­ duce the frame inclosing the engraved portrait. The artist who perfected the frame was Robert Nanteuil. This became almost as important as the character of the subject, either made simple or elaborate—never to detract from the portrait. From 1648 he practically confined himself to por­ traiture and almost immediately became the foremost portrait engraver in France, remaining so until his death. At the beginning of his career he had no rivals. The first to appear were his own pupils. Nan­ teuil, however, had a great advantage over them, be­ ing able to limn his own likeness with pencil or crayon, while rnost of his competitors' translations were from works done by other artists. He gained such a repu­ tation even by 1650 that the King, Louis XIV ( granted at his request the famous Edict of St. Jean-de-Luz, which raised the status of engraving from a "me­ chanical" to a "liberal" art, so that in the official eye, engravers became artists instead of artisans. In ad­ dition, the King soon gave Nanteuil a gift of a hun-

8 dred louis and created in his favour the charge of "Graveur et Dessinateur du Cabinet du roi" with a pension of 1,000 livres a year and a "logement" at the Gobelins. He was allowed to draw the King's por­ trait several times, as well as the royal family, and was commissioned to engrave the King's portrait no less than eleven times. No such honour had ever been shown to any engraver in France. With all these honours showered upon him, he had no ambition, ex­ cept for his art. From the first he found pleasure with the rich bourgeoisie who received him with open arms, and from whom he received most of his sitters. He had produced enough of the noblesse, but it was with the Parisian "haute bourgeoisie"—lawyers, judges, the clergy, writers, poets and doctors of the Sarbonne— that most of his life was passed. Robert Dumesnil says "II aimait les lettres et la societe, et menait, comme l'a dit un ecrivian, la douce vie." It is said that he spent most of his large earnings in his "douce vie," and died when a little over 50 years of age.

0 Catalog NANTEUIL'S WORK Practically only portraits—in these only heads and busts. The head is never shown in profile and rarely in direct full- face: nearly always in three-quarters. All his attention is centered in the expression of character by the head; there is no question about their being wonderfully like the people. He was the artist-engraver par excellence of portraiture in all times. (R. D. stands for Robert Dumesnil.) i. SIMON ARNAULD, MARQUIS DE POMPONNE, MIN- ISTRE D'ETAT. R.D. 24 Engraved in 1675 from Nanteuil's own de­ sign from life. Third state. He was Foreign Minister under Louis XIV and a friend of Mme. de Sevigne.

2. FRANCOIS DE VENDOSME, Due DE BEAUFORT ET PAIR DE FRANCE. R.D. 33 Nocroit, Pinxit (the name of the artist should be Nocret). Nantueil, Sculpebat. Second state.

4. EMMANUEL-THEODOSE DE LA TOUR D'AUVERGNE, CARDINAL DE BOUILLON. R.D. 51 Engraved in 1668 from Nanteuil's own de­ sign from life. First state. Connu sous le titre de Due d'Albret est rep- resente comme Docteur en Sorbonne et Abbe de Clugny. 10 5. FRANCOIS DE BONNE, MARECHAL DE CREQUI. R.D. 8I Engraved in 1662 from Nanteuil's own de­ sign from life. Second state.

6. JEAN-LOUIS-CHARLES D'ORLEANS-LONGUEVILLE, COMTE DE DUNOIS. FERDINAND, PINXIT. R. Natueil Sculpebat, !66o. R.D. 86 Only state.

7. PIERRE GASSENDI, PREVOT DE L'EGLISE DE DIGNE EN PROVENCE ET HOMME DE LETTRES. R.D. 101 Engraved in 1658 from Nanteuil's own de­ sign from life. First state.

8. PIERRE JEANNIN, SURINTENDENT DES FINANCES, PRESIDENT AU PARLEMENT DE BOURGOGNE. R.D. 112 Engraved in 1656 from Nanteuil's own de­ sign from life. Only state.

9. MARIN- CUREAU DE LA CHAMBRE, MEDECIN DU Ro'- R.D. 116 Engraved in from Nanteuil's own design from life. Third state. 11 GUILLAUME DE LAMOIGN0N, PREMIER PRESIDENT DU PARLEMENT DE PARIS. R.D. 119 Engraved in 1659 from Nanteuil's own de­ sign from life. First state.

MICHEL LE TELLIER, MINISTRE D'ETAT, PUIS CHANCELIER ET GARDE DES SCEAUX DE FRANCE. R.D. 135 Engraved in 1661 from Nanteuil's own de­ sign from life. Second state.

CHARLES-MAURICE LE TELLIER, ARCHEVEQUE DE REIMS (Son of Michel). R.D. 138 Engraved in 1663 from Nanteuil's own de­ sign from life. Only state.

DOMINIQUE DE LEIGNY, £VEQUE DE MEAUX. R.D. 145 Engraved in 1661 from Nanteuil's own de­ sign from life. Only state.

HENRI-AUGUSTE DE LOMENIE DE BRIENNE, SEC­ RETAIRE D'ETAT. RD. 148 Engraved in 1660 from Nanteuil's own de­ sign from life. First state. 12

MARIE-JEANNE-BAPT1STE DE SA VOIE-N EMOU RS NO. 15 THIS CATALOGUE 15- MARIE-JEANNE-BAPTISTE DE SAVOIE-NEMOURS, DUCHESSE DE SAVOIE R.D. 169 Laurent du Sour, pinxit. Robert Nanteuil, Sculp., 1678. First state. Robert Nanteuil's engravings of women are extremely rare.

l6. LEONOR GOYON DE MATIGNON, llVEGUE DE COU- TANCES, PUIS DE LlSIEUX. DECORE DE LA CROIX PASTORALE. R.D. 172 R. Pater Antoninus viuum delineauit. Nan­ teuil, Sculp. First state.

17. CARDINAL (JULES) MAZARIN, MINISTRE D'ETAT (1602-1661). R.D. 175 Van-mol pinxit. Nanteuil, Sculp. First state. He was born in Italy, but became a natural­ ized Frenchman in 1639. He was princi­ pal adviser of Louis XIV.

18. CARDINAL (JULES) MAZARIN, MINISTRE D'ETAT (1602-1661). R.D. 179 Engraved in 1656 from Nanteuil's own de­ sign from life. Only state. From the British Museum. 13 CARDINAL (JULES) MAZARIN, MINISTRE D'ETAT (1602-1661). R.D. 184 Engraved in 1659 from Nanteuil's own de­ sign from life. First state.

FRANCOIS NESMOND, £VEQUE DE BAYEUX, DECORE DE LA CROIX PASTORALE. R.D. 202 Engraved in 1663 from Nanteuil's own de­ sign from life. Second state.

FERDINAND DE NEUFVIIXE, £VEQUE DE CHARTRES, DECORE DE LA CROIX PASTORALE ORNEE D'UN CRUCIFIX. R.D. 203 Engraved in 1657 by Nanteuil from a paint­ ing by Philippe de Champaigne. First state of three.

PIERRE SEGUIER DE SAINT-BRISSON, PREVOT DE PARIS. R-D. 224 Engraved in 1659 from Nanteuil's own de­ sign from life. Only state.

LOUIS-FRANCOIS DE SUZE, £VEQUE DE VIVIERS, CE PRELAT MOURUT LE 5 SEPTEMBRE APRES AVOIR REMPLI LE SIEGE DE VIVIERS PENDANT SOIXANTE-SEIZE ANS. R.D. 227 Engraved in 1656 from Nanteuil's own de­ sign from life. First state. 14 Gerard Edelinck, 1640-1707 HE greatest follower of Nanteuil in the last part of the XVII century was Gerard Edelinck. Born in in 1640, he came to Paris in 1666 (it is believed that he was called to Paris by Colbert), where he stayed with the engraver, Pitau, a follower of Nanteuil, and learned from him the technique of Nanteuil. Edelinck is classed as a French engraver. In Pitau's house he met Philippe de Cham- paigne, who became deeply interested in him and gave him portraits to engrave. Finally, Nanteuil took him in his atelier, at the Gobelins, with whom he came into closer relationship by marrying his neice in 1672. His progress was rapid. He received every honour an en­ graver could hope to attain. In 1672 he was made "Graveur ordinaire du Roi," was granted a pension, and in 1675 letters of naturalization, a very unusual favour. In 1677 he was made a member of the Aca­ demic and by 1695 had been made a Chevalier Romain by the Pope, so that he signed his plates "le Chevalier Edelinck." He died at the Gobelins in 1707, where he had been made'Trofesseur de lapetite academie etablie pour l'institution des tapissiers." Edelinck was both modest and industrious and continued to the end of his existence a "Petit bourgeois."

»5 24. PHILIPPE DE CHAMPAGNE, PEINTRE DE ROY ET RECTEUR DE L/ACADEMIE ROYALE DE PEINTURE. Pinxit Philippus de Champaigne. R.D. 164 G. Edelinck, Sculpsit, 1676. Cum pri. R. Second state. His finest plate. Brussells in the distance, showing tower of St. Michael and Notre Dame Castle. Painting in Louvre.

25. CHARLES LE BRUN, PREMIER PEINTRE DE ROI ET GRAVEUR A L'EAU-FORTE. R.D. 238 N. de Largillierre, Pinxit. G. Edelinck, Sculpsit et ex. cum prinil. Regis. Last state.

26. MICHEL LE TELLIER, CHANCELIER DE FRANCE. Ferdinandus Voet, Pinxit. G. Edelinck, Sculpsit. R.D. 244 Fourth Last state ("ex rue St. Jacques au Seraphin" erased). Dressed in Justice's Robes. Decorated, Order of the Holy Spirit. Badge upon his garment.

27. ROBERT DE COTTE, ARCHITECTE FRANQAIS. Didot 34 Peint par Hyacinthe Rigaud. Grave par Pire Drevet pour FAcademie. Second state. 16 28. Louis XV. Didot 59 Wearing around his neck le collier de l'ordre du Saint-Esprit. Hyacinte Rigaud, Pinx. Petre Drevet Sculp. Engraved in 1724. Second state.

29. ANTOINE PORTAIL, IVe DU NOM, PREMIER PRESI­ DENT AU PARLEMENT DE PARIS. Didot 108 R. Tourniere, pinx. P. Drevet Sc. Second state.

30. FRANCOIS DE TROY, PIENTRE FRANQAIS, 1645- 1730. Didot 120 F. de Troy, Artist. Pierre Drevet. First and only state; very rare. See Didot, p. 81.

31. MARIE DE LORRAINE, DUCHESSE DE GUISE, PRIN- CESSE DE JOINVILLE. R.D. 32 Petrus Mignard, Pinxit. Antus Masson, delineavit et sculpsit parisijs, 1684. Third state.

31 Yi- HENRY DE LORRAINE, COMTE D'HARCOURT, GRAND-ECUYER DE FRANCE R.D. 34 N. Mignard. Anto. Masson. First state. From the Theobald Collection. The coat-of-arms is the house of Lorraine. The portrait is known under the title of "Cadet a la Perle." 17 32. PHILLIPPE DE FRANCE, Due D'ORLEANS, ONLY BROTHER OF KlNG LOUIS LE GRAND: Le Blanc 5 N. Habert. Madeleine Masson, wife of Habert, sister of Anto. Masson, celebrated engraver. Print.

33. . Le Blanc 52 H. Riguad, Ptr. Fiquet (Etienne). First state. Before all letters. 34. "BARON," A CELEBRATED COMEDIAN. Beraldi 42 Francois de Troy Ptr. Jean Daulle Sculp. First state.

35. CHARLES-FREDERIC MARGRAVE DE BADE ET HACH- BERG, ETC., ETC., AGE DE XVII. ANS. Apell 38 Peint par J. F. Guillibaud. Grave par Will. Second state. 36. Louis (1729-1765), DAUPHIN DE FRANCE, SON OF Louis XV. Apell 62 Peint par Klein. Grave par Will. Second state. 37. MARIE-JOSEPHE DE SAXE, DAUPHNE, DAUGH­ TER OF Louis XV. Apell 64 D. Klein, Ptr. J. G. Wille, Engr. Second state with "W" in top margin. 38. JEAN BAPTISTE MASSE. Apell 67 Peint par L. Toque en 1734. Grave par J. G. Wille, Graveur du Roy, en 1755- Fourth state. 18 L'Estampe Galante URING the reigns of the Louis' XV (1715-74) and XVI (1774-93). from 1725 to 1792, a period favour­ able for $he development of an art which, frivolous and artificial though it be, was full of charm and refinement—the period was one of the most fastidious taste, nowhere more in evidence than in the engraved prints: a light­ ness of touch, and a delicacy of treatment, were ac­ quired which have never been approached by any other school of engravers. They produce faithfully the man­ ners of the aristocrats and portray with infinite care the fine discrimination of dress, furniture, musical in­ struments, architecture, and habits of the times; they are never gross even in dealing, as they occasionally do, with subjects which but for delicacy of treatment could not have outlived the decade in which they were produced. The engravings of the XVIII Century in vogue in France may be divided into four classes—the Burin (line) engraving, Aquatints, Stipple, and a method of engraving for color which is called "maniere au lavis." Mezzotint was used but seldom, for England carried out the art so superbly that the process found no hold with the French, nor was it useful for the ren- 19 dering of the "scenes galantes" or the "genre" works so pleasing to the patrons of the French Line Engrav­ ers, who stand alone in the eighteenth century. Note: Bad reproductions have been answerable for a great deal of misrepresentation; by reason of their cheap­ ness they have been widely circulated, the delicacy of the original engraving becoming utterly obliterated, and the print being crude, uninteresting, and valueless to the amateur and student alike. Some of the original copper plates are still in existence, and are being again printed from—in many cases have been reworked and have thereby lost everything of their original quality. Line engravings were rarely printed in color. The genuine old prints were printed upon "laid paper."

(L. & D. stands for H. W. Lawrence and B. L. Dighton Catalogue.) 39. L'INNOCENCE EN DANGER. L. & D. 15 Lavreince Pinx. Jean-Gabriel Caquet, Sculp. First state.

40. LES OFFRES SEDUISANTES. L. & D. 32 Lavreince Pinx. J. L. Delignon, Sculp. Third state.

20 4i. LE CONCERT. L. &D. 47 A Madame la Comtess de Saint Brisson. Dessine par Aug. St. Aubin, Graveur du Roy. Antoine Jean Duclos, Sculp. First state, superb proof ; probably an unique impression. 42. LE JARDINIER GALANT. L. & D. 76 Peint a Gouasse en 1768 par Baudouin. Grave en 1778 par Helman. Second state. 43. LE ROMAN DANGEREUX. L. & D. yy Peint a Gauasse par N. Lavreince Peintre du Roy de Suede. Grave en 1781 par Helman Graveur de Mgr. le Due de Chartres. 44. LES HAZARDS HEUREUX DE L'ESCARPOLETTE. L. & D. 85 Peint par H. Fragonard de l'Academie Royale de Peinture et Sculpture. Grave par N. De Launay de la Meme Aca- demie et de celle des Beaux-Arts de Dan- memarck. Fifth state. There are seven states. There are two paintings of this subject, one in the Baron Edmond de Rothschild ; an­ other, almost exactly similar in character, is in the Wallace Collection. 45. L'HEUREUX MOMENT. L. & D. 96 Peint a Gouasse par N. Lavreinse et Grave par N. De Launay, Graveur du Roy. Third state. 21 46. LE CARQUOIS EPUISE. L. & D. 103 Peint a la Gouasse par P. A. Baudouin. Grave par N. De Launay. First state.

47. L'AGE AGREABLE. L. &D. 124

48. LE LARCIN TOLERE. L. & D. 125 Pair. Laubert pinxit. J. C. le Vasseur, Sculp. First state.

49. LE REPENTIR TARDIF. L. & D. 128 Peint par Lavrince Peintre du Roy de Suede et de l'Academie Rle. de Stockholm. Grave par Le Volain. Second state.

50. LES SABOTS. L. &D. 139 Peint a Gouache par Lavrince Ftre du Ry de Suede. Grave par L. J. Masquelier en 1784. First state. NOTE—Name of engraver has been erased. This subject is also engraved by Jacques Couche. Suggested by a scene in the opera comique by Sedain, entitled "Les Sabots."

51. LA TOILETTE. L. & D. 165 Peint a Gouasse par P. A. Baudouin Ptre de Roi. Grave par N. Ponce en 1771. Third state of six.

22 52. LE DANGER DU TETE-A-TETE. L. & D. 183 P. A. Baudouin, Pinx. J. B. Simonet, Sculp. First state, before all letters.

53. LISON DORMOIT. L. & D. 189 Freudeberg, Pinx. P. H. Triere, Sculp. Second state. LE MONUMENT DU COSTUME The original idea of le Monument du Costume, consisting of 12 subjects, was suggested by a German banker named Johann Heinrich Eberts, who was also an amateur engraver, atid they bear his initials, I. H. E. The designs were made by his artist friend, Sigismunde Freudeberg. The engrav­ ings from these designs were executed by different engravers. They all have engraved borders or frames. These borders or frames are a distinguishing mark from the series which followed. The great interest taken in the above 12, induced Jean Michel Moreau le Jeune to undertake the work of de­ signing 12 subjects to illustrate The Life of a Court Gallant, and then later 12 more to represent The Life of a Lady of Fashion. These 24 are distinguished from those by Freude­ berg by the absence of the engraved borders or frames; they are also larger and finer both in subjects and treatment. The above designs consist of 3 distinct series. These were followed by a fourth, which were reprinted from the original plates, after Moreau, with the addition of two plates, both after designs by Freudeberg; the first engraved by Ingouf, the elder, called "Les Mocurs du Temps," sometimes known under the title of "La Surprise," and the other engraved by Louis Bosse, called "L'Hcureuse Union," known also as "La Matinee." This last series was published at Neuwicd in 1789. 23 54- LA VISITE INATTENDU (LE MONUMENT DU COS­ TUME). L. &D. 211 I.H.E. inv. S. Freudeberg del. Voyez l'aine Sculp., 1774. Third state.

55. LES CONFIDENCES (LE MONUMENT DU COS­ TUME). L. &D. 214 I.H.E. inv. S. Freudeberg del. C. L. Lingee, Sculp., 1774. Second state.

56. DECLARATION DE LA GROSSESSE (LE MONUMENT DU COSTUME). L. &D. 219 J. M. Moreau inv. P. A. Martini, Sculp., 1776. Third state.

57. LES PRECAUTIONS. L. & D. 220 J. M. Moreau inv. P. A. Martini, Sculp., 1777. Third state.

58. J'EN ACCEPTE L'HEUREUX PRESAGE (LE MONU­ MENT DU COSTUME). L. & D. 221 J. M. Moreau, Jr. del. Ph. Triere, Sculp. Second state.

59. N'AYEZ PAS PEUR, MA BONNE AMIE (LE MONU­ MENT DU COSTUME). L. & D. 222 J. M. Moreau inv. Helman, Sculp., 1776. Fourth state.

24

60. LES PETITS PARKAINS (LE MONUMENT DU COS­ TUME). L.&D. 224 J. M. Moreau le Jeune del 1776. C. Baquoy ine aqua f. Patas terminavitinant, 1776. Third state.

61. LES DELICES DE LA MATERNITE (LE MONUMENT DU COSTUME). L. &D. 225 J. M. Moreau le Jne. inv. Helman, 1777. Third state.

62. L'ACCORD PARFAIT (LE MONUMENT DU COS­ TUME). L.&D. 226 J. M. Moreau le Jne. inv. Helman, Sculp., 1777. Second state.

63. LA RENCONTRE AU BOIS DE BOULOGNE (LE MONUMENT DU COSTUME). L. & D. 229 J. M. Moreau, Jn. del. Henri Guttenberg, Sc. First state.

64. LA DAME DU PALAIS DE LA REINE (LE MONU­ MENT DU COSTUME). L.&D. 230 J. M. Moreau inv. P. A. Martini, Sculp., 1777. First state.

65. LA GRANDE TOILETTE (LE MONUMENT DU COS­ TUME). L.&D. 233 J. M. Moreau le Jeune, del. A. Romanet, Sculp. Fifth state. ^5 SELECTED LIST OF PRINTS WHICH CAN BE PLACED IN THE HIGHEST RANK AMONG THE ARTISTS OF THE END OF THE XVIII. CENTURY. NOTE: NAME OF ENGRAVER IS FIRST MEN. TIONED, THEN FOLLOW HIS ENGRAVED WORKS.

NICOLAS DE LAUNAY, B. Paris 1739, D. Paris 1793; pupil Lempereur. Le Carquois fipuise, after P. A. Baudouin (1723- 1769). La Bonne Mere and Le Chiffre d'Amour, after Fra- gonard. Le Petit Jour, after Freudeberg. Le Billet Doux, ") After Nicolas Lavre- Qu'en Dit l'Abbe, L ince (1737-1807), a La Consolation de l'Absence, | Swedish artist i n L'Heureux Moment. J Gouache. Les Hasards Heureux de l'Escarpolette. after Fra- gonard. L'fispouse Indiscrete, after Baudouin. PIERRE-ANTOINE MARTINI, 1739-1800, Pupil of Le Bas. La Declaration de la Grossesse, "1 ^ after ^loreau La Dame du Palais de la Reine, > |e jeune La Petite Toilette. J ISIDORE-STANISLAS HELMAN, 1742-1806. Le Roman Dangereux, after Lavreince. N'ayez pas peur ma Bonne Amie, "1 After Moreau le Le Souper Fin. J jeune.

26 GIRARD VIDAL, 1742-1804. La Soubrette Confidente, La Marchande a la Toilette, All after Lavreince. La Balancoire Mysterieuse.

PIERRE-PHILIPPE CHOFFARD, 1730-1809. Le Jardinier Galant, Marchez Tout Doux, After Baudouin. Parlez Tout Bas.

JEAN-BAPTISTE SIMONET, 1742-1810.

Le Coucher de la Mariee, 1 A t4. D . . Le Danger du Tete-a-Tete. JAfter Baudou"i-

FRANCOIS DEQUEVAUVILLER, 17-(?)-after 1784. L'Assemblee au Concert. \ . , . L'Assemble au Salon. jAfter Lavreince ANTOINE-JEAN DUCLOS, 1742-(?). Le Bal Pare, \Ab . Le Concert. rAfter August de Saint-Aubin.

AUGUST DE SAINT-AUBIN, 1736-1807. Comptez sur mes Serments. Au Moins Soyez Discret.

JEAN-BAPTISTE PATAS, 1748-1817. La Petite Loge, ~) Les Petits Parrains. rAfter Moreau le jeune. ROBERT-FRANCOIS INGOUF LE JEUNE, 1747-1812 La Promenade du Soir, after Lavreince. Linge, La Promenade du Matin, after Lavreince. FRANCOIS-GERMAIN ALIAMET, 1734-1790, worked in conjunction with Moreau le jeune. Madame^ Greuze, known as "La Philosophe Endor- mie," after Greuze.

27 JACQUES COUCHfi, 1750-(?). Les Sabots, after Lavreince.

HENRI GUTTENBERG, 1745-1793 (about). Le Mercure de France, after Lavreince.

VINCENT-MARIE LANGLOIS LE JEUNE (date?). La Partie de Musique, after Lavreince.

NICOLAS JOSEPH VOYEZ L'AINfi, 1742-aftcr 1783. Le Directeur des Toilettes, after Lavreince.

MARTIAL DENI. Le Restaurant, after Lavreince.

JEAN LOUIS DELIGNON, date (?). Pupil of N. de Launay. Les Offres Seduisantes, after Lavrience

CHARLES ETIENNE GAUCHER, 1741-1804. Le Couronnement de Voltaire, after Moreau le jeune.

ROBERT DE LAUNAY, 1754-1814. Les Adieux, after Moreau le jeune.

LOUIS-MICHEL HALBOUR, 1730-d. after 1792. Le Lever, after Moreau le jeune.

ANTOINE LOUIS ROMANET, 1748-1781. La Grande Toilette, after Moreau le Jeune.

N. THOMAS, (?)-d. after 1783. Oui ou Non, after Moreau le jeune.

GORGES MALBESTE, 1754-(?). La Sortie de L'Opera, after Moreau le jeune. JEAN DAMBRUN, 1741-(?). . La Partie de Wisch, after Moreau le jeune. 28 It is interesting to observe that in the list given, about sixteen of the designs are the work of Lavreince, fifteen are by Moreau le jeune, Ave by Baudouin, four by Auguste de Saint-Aubin, and three by Freudeberg. This list comprises only the very finest prints of the period, and the possession of a fine sample of each would form a collection which would be the envy of every amateur of Es- tampes Galantes.

REIGXS OF DIFFERENT RULERS OF FRANCE

LOUIS XIII, 1610-1643. LOUIS XIV LE GRAND, 1643-1715. LOUIS XIV (le Grand), 1643-1715. LOUIS XV, 1715-1774. LOUIS XVI, 1774-1793.

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