Pesquisando por: "JEAN-BAPTISTE HUET" - Fotoarena - Agência de fotojornalismo

3BEMC5K 'Un Dogue se jetant sur des oies' (A Dogue Attacking Geese) is a painting by Jean-Baptiste Huet, created circa 1769. The work features a dramatic scene of a dog lunging at geese, showcasing Huet’s ability to capture animals in motion. It is part of the Musée du Louvre collection.

2WR83RA Women with flowers and Amor, Offrande à l'Amitié. (title on object), print maker: C.L. Jubier, after design by: Jean Baptiste Huet, France, 1755 - 1786, paper, etching, height 254 mm, width 199 mm, print

2WR83HF Landscape with a shepherd and a young woman with a pack mule, La Delice de la vie champetre. (title on object), print maker: Anne Charbonnier, after drawing by: Jean Baptiste Huet (le vieux), publisher: Anne Charbonnier, print maker: France, publisher: Paris, 1700 - 1799, paper, etching, height 224 mm × width 301 mm, print

2WR7TXP Three heads, Numbered top right: No. 831., print maker: Louis Marin Bonnet, (possibly), after drawing by: Jean Baptiste Huet (le vieux), publisher: Louis Marin Bonnet, print maker: France, publisher: Paris, 1746 - 1793, paper, etching, height 364 mm × width 478 mm, print

2WR7BC3 Landscape with classical ruin, Tombeau Antique (title on object), numbered top right: 28., print maker: Noël, print maker: Jean Baptiste Huet (le vieux), after drawing by: Gillet, Paris, 1755 - 1811, paper, etching, height 201 mm × width 269 mm, print

2WR7BB7 Weeping willow at well, Saule pleureur (title on object), Numbered top right: 27., print maker: Noël, print maker: Jean Baptiste Huet (le vieux), after drawing by: Gillet, Paris, 1755 - 1811, paper, etching, height 288 mm × width 201 mm, print

2WR7BBD Two pollard willows, Étude du Saule (title on object), numbered top right: 26., print maker: Noël, print maker: Jean Baptiste Huet (le vieux), after drawing by: Gillet, Paris, 1755 - 1811, paper, etching, height 288 mm × width 204 mm, print

2WR77NW Farm house and herd with donkey near a stone, at the top a farm house and at the bottom a donkey, a lying cow and four lying sheep. Numbered top right: No. 357., print maker: Louis Marin Bonnet, after drawing by: Jean Baptiste Huet (le vieux), publisher: Louis Marin Bonnet, print maker: France, after drawing by: France, publisher: Paris, France, Paris, 1778, paper, etching, height 259 mm × width 206 mm, print

2T8HE4N Attributed to JEAN-BAPTISTE HUET, study sheet with different heads, 1772, sheet, 391 x 511 mm, red and black chalk on handmade paper, old mounted, study sheet with different heads, attributed to JEAN-BAPTISTE HUET, 18TH CENTURY, CLASSICISM, DRAWING, red and black chalk on laid paper, old mounted, CHALK, BUILD PAPER, CHALK DRAWING, FRENCH, PICTURE DRAWING, STUDY, EXPRESSION STUDY, SAMPLE SHEET?, Signed and dated lower left, with chalk, J. B. Huet 1772

2T8HCPT JEAN-BAPTISTE HUET, Three sheep's heads, waking and sleeping, 1768, sheet, 267 x 378 mm, black, red and white chalk on blue handmade paper, old mounted, Three sheep's heads, waking and sleeping, JEAN-BAPTISTE HUET, 18TH CENTURY, ROCOCO EARLY CLASSICISM, DRAWING, Black, red and white chalk on blue handmade paper, old mounted, CHALK, CRAWN PAPER, CHALK DRAWING, TROIS CRAYONS, FRENCH, PICTURE DRAWING, ANIMAL STUDY, Signed and dated lower left, in brown pen, J. Huet. 1768.; Inscribed lower right: P9

2T8HCGX JEAN-BAPTISTE HUET, shepherd scene, 1780, sheet, 204 x 258 mm, watercolor over gray pencil on handmade paper, old mounted with gold edge, shepherd scene, JEAN-BAPTISTE HUET, 18TH CENTURY, ROCOCO, DRAWING, watercolor over gray pencil on handmade paper, old mounted with gold edge, WATERCOLOR, GRAPHITE?, HAND PAPER, WATERCOLOR, BRUSH DRAWING, PEN DRAWING, GRAPHITE PEN DRAWING?, FRENCH, PICTURE DRAWING, AUTONOMOUS DRAWING?, Signed and dated lower center, in gray pen, J. B. Huet 1780, art dealer's mark on verso s Guillaume Jean Constantin, Paris, Frankfurt am Main

2T8J3Y0 Bust portrait of a girl, Jean-Baptiste Marie Huet, Paris 1745 - 1811 Paris, drawing, black chalk, wiped, 27 x 20.4 cm, l.l. '29849

3AA85PK Huet, Jean-Baptiste (dit l'Ancien) - La Bouquetière - J 68

2T91FAC Egyptian Monuments (Les monuments de l'Egypte), 19th century, Jean-Baptiste Huet; Artist: after Louis-François Cassas; Mill: Manufacture de Jouy, French, 1745 - 1811, 26 1/2 x 33 in. ( 67.95 x 83.82 cm), Cotton; roller print Textiles - Surface Ornamentation - Printed, France, 19th century, Toiles de Jouy were among the first factory-made printed textiles to be manufactured in France. Inspired by the colorful, hand-painted palampores of India, the earliest examples of toile de Jouy utilized a painstaking woodblock printing method to create delicate floral patterns on fine cotton cloth.

2T91BW1 Shepherdess Accompanied by Two Children, 1778, Jean-Baptiste Huet, French, 1745 - 1811, 7 3/4 x 10 7/8 in. (19.69 x 27.62 cm) (plate)10 x 13 3/16 in. (25.4 x 33.5 cm) (sheet), Etching heightened with red ink, France, 18th century

3BE55AB Jean-baptiste huet a study of lilacs030409).

3AJC269 Jean-Baptiste Huet’s 1786 oil on paper painting, 'A Study of Lilacs,' captures the beauty of the flowers with detailed observation and delicate brushwork.

2J03BG2 Textile Fragment, 'L'Abreuvoir' (The Drinking Trough). Jean-Baptiste Huet (France, 1745-1811). France, Jouy, circa 1792. Textiles; textile lengths. Cotton plain weave, copper-plate printed, mordant-dyed

2HWDF53 Girl Feeding Hens. Artist: Gilles Demarteau, Flemish, active in France, 1722–1776After: Jean Baptiste Hüet, French, 1745–1811

2HWBTW2 Pastorale. Artist, attributed to: Jean Baptiste Hüet, French, 1745–1811

2HJ4FM7 'Les Travaux de la Manufacture' 1783 Oberkampf Manufactory French This is one of the best known copperplate-printed textiles produced at the Oberkampf factory and it presents an abundance of information regarding the complexity of the textile printing process. There are a total of fourteen different scenes depicting activities involved in the process. The designer, Jean-Baptiste Huet, and a female colleague are depicted outdoors sketching, dyers mix colors, and printers apply the printing bocks. The drying of the finished cloth on the grounds of the factory completes the picture. The concept o

2HJ3DHK Vignette with Hephaestus and Putti 1779 Jean-Baptiste Huet I French. Vignette with Hephaestus and Putti 399124

2HJ2X3A The Wolf and the Lamb (La Fontaine fable) 1804 Designed by Jean-Baptiste Huet I French. The Wolf and the Lamb (La Fontaine fable) 221967

2HJ1M90 Vignette with Two Nymphs 1778 Jean-Baptiste Huet I French. Vignette with Two Nymphs 399126

2HJ1BGF The Swing, The Harvest, and Cherry Picking from a set of the Pastorals with Blue Draperies designed ca. 1780, woven ca. 1782–90 Jean-Baptiste Huet I French. The Swing, The Harvest, and Cherry Picking from a set of the Pastorals with Blue Draperies 227719

2HJ18EW Le Loup et l'agneau ca. 1805 Designer: Jean-Baptiste Huet I French. Le Loup et l'agneau 236787

2HJ0MB6 Piece ca. 1788 Jean-Baptiste Huet I French. Piece 13715

2HHBH96 Pictorial print ca. 1786 Design attributed to Jean-Baptiste Huet I French. Pictorial print 221581

2HHBEWP The Worship of Cupid ca. 1775–90 After Jean-Baptiste Huet I French. The Worship of Cupid 213250

2HHB8WF Study for a Pastoral Scene n.d. Jean-Baptiste Huet I French. Study for a Pastoral Scene 335427

2HHA7XW Tapestry lining for tester (ciel for lit à la duchesse en impériale) ca. 1780–90 Tapestry made at Beauvais As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782–83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745–1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as

2HHA513 Frieze with Putti n.d. Jean-Baptiste Huet I French. Frieze with Putti. Jean-Baptiste Huet I (French, Paris 1745–1811 Paris). n.d.. Etching. Prints

2HH8P4H Piece ca. 1788 Jean-Baptiste Huet I French. Piece 13716

2HH7HJ8 Black and White Dog, Head Turned to the Left 1794–95 Jean-Baptiste Huet I French A distinguished animal painter, Huet here reveals the lightness of his touch as a draftsman. After sketching in the outlines of this small dog in black chalk, he used white to suggest the texture of fur and red to define the sensitive ares of ears, eye and nose. The animal is caught in midstride with its front leg raised, with the ground indicated only by a slight shadow. The signature and late date indicate that he drawing is an autograph copy of an earlier work made about 1765.. Black and White Dog, Head Turned

2HH7GNB Vignette with Sphinxes and Putti 1779 Jean-Baptiste Huet I French. Vignette with Sphinxes and Putti 399125

2HH71JW Tester bed (lit à la duchesse en impériale) ca. 1782–83 Georges Jacob French As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782–83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745–1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary to pile them

2HHWA4X 'Four Quarters of the Globe' ca. 1788 Jean-Baptiste Huet I French. 'Four Quarters of the Globe'. French, Jouy-en-Josas. ca. 1788. Cotton. Textiles-Printed

2HHTH3N Coverlet for a bed (Lit à la duchesse en impériale) ca. 1780–90 Tapestry made at Beauvais As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782–83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745–1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary

2HHTFNH Door panel 1770–90 Manner of Jean-Baptiste Huet I French. Door panel. Manner of Jean-Baptiste Huet I (French, Paris 1745–1811 Paris). French. 1770–90. Painted oak. Woodwork

2HHTFD9 Valence for a bed (Lit à la duchesse en impériale) ca. 1780–90 Tapestry made at Beauvais As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782–83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745–1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary

2HHPN1P Back panel for a bed (Lit à la duchesse en impériale) ca. 1780–90 Tapestry made at Beauvais As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782–83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745–1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customa

2WK0NNH Huet, Jean-Baptiste (known as the old) (n.1745-10-15-D.1811-01-27), the hunt for birds (main title), 1780. Organic, textiles, wool and silk, tapestry. Petit Palais, Museum of Fine Arts of the City of Paris.

2WK0JB3 Huet, Jean-Baptiste (known as the old) (n.1745-10-15-D.1811-01-27), May. Sleaching of Palmiers Pastorals (Main title), 1780. Organic, textiles, wool, tapestry. Petit Palais, Museum of Fine Arts of the City of Paris.

2DTC5DN Artist, attributed to: Jean Baptiste Hüet, French, 1745–1811, Pastorale, ca. 1778, Pen and brush in brown, brown chalk, sheet: 26.8 × 37.4 cm (10 9/16 × 14 3/4 in.), Made in France, French, 18th century, Works on Paper - Drawings and Watercolors

2DT2ME4 Artist: Gilles Demarteau, Flemish, active in France, 1722–1776, After: Jean Baptiste Hüet, French, 1745–1811, Girl Feeding Hens, Stipple and crayon manner engraving printed in color, image: 23.3 × 35.6 cm (9 3/16 × 14 in.), Made in France, French, 18th century, Works on Paper - Prints

2DNC0RJ Medallions et cartouches a l'antique, Jean-Baptiste Huët, (French, 1745–1811), Medium: cotton Technique: printed by engraved plate on plain weave foundation, Medallions and cartouches containing a sphinx, a putti on a bull, a seated woman with an oil lamp and a seated woman holding an owl surrounded by women in classical dress, garlands and animals. In red on white., Jouy, France, ca. 1800–05, printed, dyed & painted textiles, Fragment, Fragment

2DNBWF8 Le Ballon de Gonesse, Jean-Baptiste Marie Huet, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Medium: cotton Technique: printed by engraved copper plate on plain weave, The design was assembled from contemporary prints depicting two separate balloon flights from Paris in 1783. One balloon landed in the village of Gonesse; frightened villagers mistook the ballon for a monster and called for an exorcism. The second flight, the first to carry human passengers (Nicolas Robert and Jacquest Charles), landed on the Nesles plain 22 miles from Paris

2DNBTW4 The deities of Olympus (The Olympian Gods), Jean-Baptiste Huët, (French, 1745–1811), Medium: cotton Technique: printed by engraved plate on plain weave foundation, Circular and oval cartouches containing goddesses and decorative ornament on a background of scalloped lines. In blue on white., Jouy, France, ca. 1805, printed, dyed & painted textiles, Fragment, Fragment

2DNBTRP Les Losange (Lozenges), Jean-Baptiste Huët, (French, 1745–1811), Medium: cotton Technique: printed by engraved plate on plain weave foundation, Medallions and cartouches, containing various mythological figures on a diamond grid of lozenges. In brown on white., Jouy, France, ca. 1800, printed, dyed & painted textiles, Fragment, Fragment

2DNBT4E La Couronnement de la Rosiere, Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Jean-Baptiste Huët, (French, 1745–1811), Medium: cotton Technique: printed by engraved plate on plain weave foundation Printing width of plate: 93 cm (36 1/2 in.) Printing height of plate: 99 cm (39 in.)., Scene of a group under a fabric canopy. Seated woman holding a lamb on a leash is being crowned with a wreath by a gentleman in a tricirne hat. Other images include; flowers, garlands, putti, a poodle, a leaping wolf and domestic fowl., Jouy, France, 1789–92, printed, dyed & painted textiles, Textile

2DNBN0N Textile, Jean-Baptiste Marie Huet, (French, 1745–1811), Material: cotton Technique: copperplate printed, 'The Marriage of Figaro', height of repeat- 20 1/2 inches, Two scenes from the Mozart Opera, 'The Marriage of Figaro,' (first produced in 1793), Two framed circular vignettes illustrating the opera and urns and arabesques., Printed in red., Jouy, France, 1794–1800, printed, dyed & painted textiles, Textile

2DNBKFN Louis XVI restaurateur de la liberte, Jean-Baptiste Huët, (French, 1745–1811), Medium: cotton Technique: printed by engraved plate on plain weave, Design of seated Louis XVI with a lion at his side, welcoming Liberty accompanied by Mars and Minerva; next to him a standing female figure holds a cap of liberty on a pike; to the right are a citizen and Mercury. Above a cartouche contains a scene of two peasants driving a plow pulled by two horses. There is a small circular medallion with a view of the Bastille being demolished

2DNBH91 Le Romain, Jean-Baptiste Marie Huet, (French, 1745–1811), Medium: cotton Technique: printed by engraved roller and block on plain weave, Scenes of Rome printed in purple and yellow. The scenes shown are the Pantheon, Arch of Constantine, Arch of Titus, dancers in the Form, pipers playing before a shrine of the Virgin, statue of the she-wolf suckling Romulus and Remus. Selvedge to selvedge., Jouy, France, 1821, printed, dyed & painted textiles, Textile, Textile

2DNB5N8 Dianne Chasseresse, Jean-Baptiste Huët, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Medium: plain weave cotton Technique: printed by engraved plate (the short height of the repeat indicates that the shorter printing plate which came into use at the turn on the century was used; original glaze is visible), Design in brown on white background. Figure of Diana as a huntress with various classical medallions., Jouy-en-Josas, France, ca. 1798, printed, dyed & painted textiles, Textile with chef de piece, Textile with chef de piece

2DNB0GK Fontaine et animaux' (Fountain and animals), Jean-Baptiste Huët, (French, 1745–1811), Medium: loosely woven cotton plain weave Technique: printed by engraved plate (or roller), Design of an elaborate fountain held up by women over a medallion of Ceres. Alternate with cattle by a pollarded tree. Various birds are around the fountain. In brown on white., Jouy, France, ca. 1803, printed, dyed & painted textiles, Fragment, Fragment

2DNAY2Y L'Escarpolette' (The swing), Jean-Baptiste Huët, (French, 1745–1811), Medium: cotton Technique: printed by engraved plate on plain weave foundation, Pastoral figures and trophies with birds and animals. Central scene is a woman on a swing framed by two female herms. The swing is pulled by a string held by a young man. In red on white., Jouy, France, 1783–89, printed, dyed & painted textiles, Fragment, Fragment

2DNAXBB Les Delices des Quatre Saisons, Jean-Baptiste Marie Huet, (French, 1745–1811), Medium: cotton Technique: copperplate printed on plain weave, Rural scenes illustrating the four seasons., Jouy, France, ca. 1785, printed, dyed & painted textiles, Textile, Textile

2DNARBW Le Ballon de Gonesse, Jean-Baptiste Marie Huet, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Medium: cotton Technique: printed by engraved copper plate on plain weave, The design was assembled from contemporary prints depicting two separate balloon flights from Paris in 1783. One balloon landed in the village of Gonesse; frightened villagers mistook the ballon for a monster and called for an exorcism. The second flight, the first to carry human passengers (Nicolas Robert and Jacquest Charles), landed on the Nesles plain 22 miles from Paris

2DNAJK2 Textile, Jean-Baptiste Huët, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Medium: cotton Technique: printed by engraved plate on plain weave, 'The miller, his son and the Ass' printed in red., Pastoral scenes., Jouy, France, late 18th–early 19th century, printed, dyed & painted textiles, Textile

2DNAH19 L'abreuvoir' (The Well), Jean-Baptiste Huët, (French, 1745–1811), Medium: Technique: Plain weave foundation. Printed (with a mordant for red) by engraved plate., Several scenes, most involving water or drinking. Included are: village well with animals drinking, drinking outside a tavern and drinking as an accompaniement to dancing. In red on white., Jouy, France, ca. 1792, Textile, Textile

2DN9XH7 Textile, Jean-Baptiste Marie Huet, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Medium: cotton Technique: printed by engraved roller on plain weave, Classical medallions printed in blue on white. Women in classical dress and garlands of grape vine frame medallions containing a sphinx, a winged head flanked by two roosters, a putti riding a bull. Pattern incomplete on left side., Jouy, France, 1805, printed, dyed & painted textiles, Textile

2DN9W03 Apollo in his Chariot Transforms Night into Day, Jean-Baptiste Marie Huet, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Pen and brown (bistre) ink, brush and gray wash, pale orange watercolor, black chalk [?] on cream laid paper, Apollo drives his chariot pulled by four horses across the sky. He is preceded by Dawn or Day holding torch and scattering flowers. Behind chariot are female attendants and three allegories of Night amidst stars, crowns, flying bats and owls. In lower left corner, Diana in front of a crescent moon, hovers above Endymion who sleeps

2DN9JM0 La Fête Flamand, Jean-Baptiste Huët, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Medium: plain weave cotton Technique:printed by engraved plate, Scenes of people enjoying food and drink in a rural landscape. Red on white., Jouy-en-Josas, France, ca. 1797, printed, dyed & painted textiles, Textile with chef de piece, Textile with chef de piece

2DN8PFM Fragment, Jean-Baptiste Marie Huet, (French, 1745–1811), Medium: cotton Technique: printed by engraved copper plate on plain weave, A toile “Paul et Virginie” by Huet. Brown printed on a white ground showing two women with babies, a man approaching two children, a shipwreck, two men in a rowboat, and a boy and girl on shore. Many plant forms as background., Jouy, France, ca. 1802, printed, dyed & painted textiles, Fragment

2DN8ERA Les Vendanges, Jean-Baptiste Marie Huet, (French, 1745–1811), Medium: cotton Technique: printed by engraved copper plate on plain weave, Panel of cotton printed in red showing a design of women harvesting grapes; country folk dancing and courting; a man in a swing with another on the ground holding a bottle., Jouy, France, 1785, printed, dyed & painted textiles, Textile, Textile

2DN8BJ3 L'Abreuvoir' (The Well), Jean-Baptiste Huët, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Medium: plain weave cotton Technique: printed by engraved plate, Design in red on white. Several scenes including dancing couple, rural inn and boys bowling., Jouy-en-Josas, France, 1792–1815, printed, dyed & painted textiles, chef de piece, chef de piece

2DN8A5A Oiseaux et ecureuils' (Birds and squirrels), Jean-Baptiste Huët, (French, 1745–1811), Medium: cotton Technique: printed by engraved plate on plain weave foundation, Horizontal arrangement of putti holding fruiting branches of grapes and apples with squirrels and parrots. Sphinx topped by nesting bird feeding its young and vases of flowers on background of a rigid arrangement of leaves. Printed in brown on white and designed for lengths to be sewn together as a straight repeat., Jouy, France, ca. 1806, printed, dyed & painted textiles, Fragments

2DN85JK Les monuments de Roma' (Monuments of Rome), Jean-Baptiste Huët, (French, 1745–1811), Medium: cotton Technique: printed by engraved plate on plain weave foundation, Genre scenes of Roman peasants and circular medallions containing Roman landmarks on a background of semicircles and lines. In red on white., Jouy, France, 1811, printed, dyed & painted textiles, Textile, Textile

2DN84XD L'Escarpolette, Jean-Baptiste Marie Huet, (French, 1745–1811), Medium: cotton Technique: copperplate printed, Panel with an incomplete design showing a symmetrical arrangement of elaborate suspended medallions, with festoons and ribbons, and a swinging female figure. Beneath her are two draped female figures that form two elaborate scrolls. Below, a crest supports rural farm scene of a rooster, hens with chicks and rabbits. Design inspired by the painting L'Escarpolette by Jean Honore Fragonard., Jouy, France, 1789, printed, dyed & painted textiles, Textile

2DN7P5K Three Lion Heads, Jean-Baptiste Huët, (French, 1745–1811), Etching or engraving in brown ink on paper, Three lions' heads, Europe, 1788, Print

2DN7KFK Heads of Cats and Dogs, Jean-Baptiste Huët, (French, 1745–1811), Aquatint in gray and black ink on paper, Heads of two cats face heads of two dogs., France, ca. 1775, Print

2DN747H Designs for a Panel, Fire Screen, and Andirons, pl.3, XIe Cahier, Oeuvres de différents genres dessinée par J. B. Huet, Jean-Baptiste Huët, (French, 1745–1811), Gilles-Antoine Demarteau, 1750 – 1802, J. Augustin Léveillé, Aquatint on cream laid paper, Painted panel with vase in candelabra decoration left; painted firescreen with winged putti standing between two vine scrolls, two designs for andirons, right, reclining lion (above) and winged putti riding griffon (below)., France, 1785, furniture, Print

2DN6YM4 Le Sacrifice à l'Amour (Offrande à l'Amour), Jean-Baptiste Huët, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Medium: cotton Technique: copperplate printed on plain weave, Printed in dark brown showing a shepherd and female figure in classical dress making an offering to love who stands on a pedestal; children dancing while shepherd plays his flute; domestic scene of a mother with children; several shepherds and shepherdesses, sheep, dogs, cats and fowl; background glimpses of architectural detail., Jouy, France, ca. 1795, printed, dyed & painted textiles, Textile

2DN6XDW Textile, Jean-Baptiste Marie Huet, (French, 1745–1811), Medium: cotton Technique: printed by engraved copper plate on plain weave, Textile printed with red on white showing country scenes., Jouy, France, 1780–1790, printed, dyed & painted textiles, Textile

2DN6BE6 Textile, Jean-Baptiste Marie Huet, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Medium: cotton Technique: printed by engraved copper plate on plain weave, A textile fragment with red printed on white ground showing merchant ships, a cock standing on a lion, and tree branches., Jouy, France, 1789–1791, printed, dyed & painted textiles, Textile

2DN64NA Les quatre parties du monde, Jean-Baptiste Huët, (French, 1745–1811), Medium: cotton Technique: copperplate printed on plain weave, Fragment shows a seated figure representing Europe surrounded by cherubs, roosters, dogs, and a horse., Jouy, France, ca. 1785, printed, dyed & painted textiles, Textile, Textile

2DN5CFN La Fete de la Federation (The Festival of the Federation), Jean-Baptiste Marie Huet, (French, 1745–1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759–1815), Medium: cotton Technique: printed by engraved copper plate on plain weave, Length of printed cotton with scenes printed in red on white. In one scene, Louis XVI is shown taking the oath of loyalty at the Altar of Liberty while Marie Antoinette and the Dauphin pledge allegiance; Lafayette is in the background. In another scene people are dancing on the ruins of the Bastille. The fabric was designed after the fall of the Bastille (July 14

2DN59BT Textile, Jean-Baptiste Marie Huet, (French, 1745–1811), Medium: cotton Technique: copperplate printed on plain weave, Three fragments which when put together make one repeat of 'La Liberte Americaine,' also known as 'Franklin Peace Medal.' Design consists of foliate scrolls dividing fabric into two pastoral scenes with urns, baskets of flowers, monkeys, foxes, and two medallions of the Peace Medal designed by Benjamin Franklin., Jouy, France, 1785–1790, printed, dyed & painted textiles, Textile

2DN550F Les Vendanges, Jean-Baptiste Marie Huet, (French, 1745–1811), Medium: cotton Technique: printed by engraved copper plate on plain weave, Panel of cotton printed in red showing a design of women harvesting grapes; country folk dancing and courting; a man on the ground holding a bottle and a man beating a drum in front of an inn, with vessels of wine around him., Jouy, France, 1785, printed, dyed & painted textiles, Textile, Textile

2DN4C65 Singeries ou differentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Bound volume of etchings on paper, Bound volume of 22 prints and 1 loose print featuring monkeys in human costume acting out various scenes., Paris, France, ca. 1743, albums (bound) & books, Book, Book

2DN2Y9Y Design for a Sphinx, pl. 2, Deuxieme Cahiers des arabesques dessinés par J. B. Huet... [Book 2, Portfolios of Arabesques Designed by J.B. Huet], Jean-Baptiste Huët, (French, 1745–1811), Louis-Marin Bonnet, French, 1736 - 1793, Crayon manner engraving on cream laid paper, Sphinx figure in black facing foward with outstretched wings from which hangs a garland that falls downward to touch on either side the double tail that curls upward ending in a grape cluster., France, 1736–93, ornament, Print

2DN2ENT Plate 3, La Lanterne Magique (The Magic Lantern), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 3 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. On a small hill, a standing monkey wearing a waistcoat and pants with a music box strapped to his front and a magic lantern viewing machine strapped to his back

2DN2ER6 Plate 2, Le Corps de Chasse (The Hunting Horn), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 2 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In an outdoor setting, a monkey in a hunting costume kneels, blowing into a circular French horn. A hunting dog at right peers at him as he blows into the instrument

2DN2ERG Les fins Chasseurs (The Fine Hunters), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Part of a set of bound prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, two monkeys in human costume. At left, standing behind the figure at right, is a monkey wearing a feathered cap and tunic. He holds a long thin tube

2DN2ER2 Plate 5, Le Faucon (The Falcon), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 5 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In an outdoor setting, a figure of a male monkey dressed as a gentleman hunter, wearing a waistcoat with buttons, tunic, and pants. He holds a falcon wearing blinders

2DN2ERA Plate 6, Le Repos de Chasse (The Rest from Hunting), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 6 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, a seated monkey in gentleman hunter's costume (waistcoat, tunic, pants), rests against a rock. In his left hand, he holds a rifle (gun).

2DN2ERK Plate 7, Le Lavement Donné (The Enema Given), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 7 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, a group of three monkey figures dressed in human costume. The monkey at left reclines with its rear end exposed. He holds his hand at his head

2DN2EPA Plate 4, Le Zigzag (The Zigzag), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 4 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, two monkeys in human costume. At left, standing behind the figure at right, is a monkey wearing a feathered cap and tunic. He holds a long thin tube to his lips

2DN2DCX L'Organiste Ambulant (The Itinerant Organist), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate from a series of prints featuring monkeys acting as humans in various figural scenes. At left, a figure of a monkey in gentleman's costume (wearing feathered hat) riding another monkey walking on all fours. The seated monkey plays music on an organ

2DN2DB7 Plate 12, Le Branle (The Branle), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 12 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, a group of monkey figures in human costume, both men and women, many of the men wearing elaborate feathered hats. They dance the Branle

2DN2DBR Plate 8, Le Maître de Musique (The Music Master), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 8 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, a figural scene of a music lesson, the monkey instructor in gentleman's costume teaching his students, who are cats. The monkey holds a sheet

2DN2DCM Le Sculpteur (The Sculptor), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate from a series of 23 prints featuring monkeys acting as humans in various figural scenes. In an artist's studio setting, a figure of a monkey in gentleman's costume using a hammer and chisel to sculpt a portrait bust of a female monkey. At right, another monkey assists

2DN2DBC Plate 9, Les Paniers de Chasse (The Hunting Baskets), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 9 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, a figure of a monkey in human costume riding on the back of a hunting dog. He holds the dog's leash in his right hand and a dead bird

2DN2DB5 Plate 6, Le Maître à Dancer (The Dancing Master), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 6 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. Two monkey figures dancing, the animal at left is nude, while the monkey at right is dressed in elaborate court costume, including a sword at his hip, a sash

2DN2DAX Plate 11, Le Maître Peintre (The Master Painter), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Tricks or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on laid paper, Plate 11 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. Figure of a monkey in gentleman's clothing at center kneels upon a stool with an upholstered cushion before a canvas on an easel. He holds an artist's palette

2DN2DCP Plate 10, Le Tambour de Basque (The Tambourine), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 10 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In an outdoor setting with trees and a garden wall, a monkey figure in human costume dances and plays the tambourine., Paris, France, ca. 1743, albums

2DN2DA5 Plate 3, L'Oiseau de Proye (The Bird of Prey), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 3 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In an outdoor environment, a figure of a monkey in gentleman's costume at left. He wears a hat and holds a walking stick, his arms gesticulating widely.

2DN2DC1 Dedication to Monsieur de L'Orme, Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Dedication plate from a series of 23 bound prints featuring monkeys acting as humans in various figural scenes. Textual plate with printed text divided into two columns separated by a vertical line. Bordering the text is a menagerie of animals including birds

2DN2DBY Le Tambourin (The Tabor), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on laid paper, Plate from a series of 23 prints featuring monkeys acting as humans in various figural scenes. In an outdoor environment, a figure of a monkey in gentleman's costume wearing feathered hat plays the tambor, an elongated snare drum. While drumming, he also plays a simple flute

2DN2DB1 Plate 10, Le Maître de Cors de Chasse (The Master of the Hunting Horn), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys), Christophe Huet, French, 1700–1759, Jean-Baptiste-Antoine Guelard, French, 1719–ca. 1755, Charpentier, Paris, France, Etching on paper, Plate 10 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, two figures of monkeys dressed in human hunting costume, each kneeling on the ground. Monkey at left wears a feathered cap