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akg4499946 De gauche à droite, Louis XIV, Marie-Thérèse d'Autriche, Louis XV, Marie Leszczynska. Louis XIV, dit le Roi-Soleil, né le 5 septembre 1638 au Château Neuf de Saint-Germain-en-Laye et mort le 1er septembre 1715 à Versailles, est un monarque français. Il est Roi de France et de de Navarre du 14 mai 1643 à sa mort, le 1er septembre 1715. Né Louis, il monte sur le trône de France au décès de son père Louis XIII, quelques mois avant son cinquième anniversaire. Il est le 64e roi de France, le 44e roi de Navarre et le troisième roi de France issu de la dynastie des Bourbons. Son règne de 72 ans est l'un des plus longs de l'histoire d'Europe, et le plus long de l'Histoire de France. Marie-Thérèse d'Autriche, Infante d'Espagne, Infante de Portugal, Archiduchesse d'Autriche (Madrid, 10 septembre 1638 - Versailles, 30 juillet 1683), fut l'épouse de Louis XIV, infante d'Espagne, reine de France et brièvement régente en 1672 lorsque Louis XIV était en guerre contre la Hollande. Louis XV dit le " Bien-Aimé ", né à Versailles le 15 février 1710 et mort le 10 mai 1774 dans la même ville, est un roi de France et de Navarre. Membre de la Maison de Bourbon, il règne sur le royaume de France du 1er septembre 1715 au 10 mai 1774. Orphelin à l'âge de 2 ans, duc d'Anjou puis dauphin de France du 8 mars 1712 au 1er septembre 1715, il succède à son arrière-grand-père Louis XIV à l'âge de cinq ans. Ainsi, son pouvoir est alors délégué à son cousin, le duc d'Orléans, proclamé " régent du Royaume ", le 2 septembre 1715, jusqu'au 15 février 1723, date de l'entrée du jeune roi dans sa quatorzième année et de sa majorité, où il prend officiellement la direction du gouvernement. Marie Leszczynska ou Marie Leczinska, née le 23 juin 1703 à Trzebnica et morte le 24 juin 1768 à Versailles, est une aristocrate polonaise, fille du roi de Pologne Stanislas Leszczynski, reine de France par son mariage avec Louis XV en 1725. Elle est la dernière reine de France à mourir avec sa couronne et la dernière à être pleurée par les Français qui l'avaient surnommée " notre bonne Reine ". Gravure.

akg4499947 De gauche à droite, Louis XVI, Marie-Antoinette, Louis-Charles de France, Louis XVIII, Marie Joséphine Louise de Savoie. Louis XVI, né à Versailles le 23 août 1754 et mort à Paris le 21 janvier 1793, est le dernier roi de France de la période dite de l'Ancien Régime et le dernier d'entre eux à avoir habité le château de Versailles. Il est roi de France et de Navarre de 1774 à 1791 puis roi des Français de 1791 à 1792. Louis XVI est le fils du Dauphin Louis-Ferdinand de France et de Marie-Josèphe de Saxe. Il succède à son grand-père Louis XV en 1774. Il est le frère aîné des futurs rois Louis XVIII et Charles X. Marie-Antoinette Josèphe Jeanne de Habsbourg-Lorraine, archiduchesse d'Autriche, princesse impériale, princesse royale de Hongrie et de Bohême, (née le 2 novembre 1755 à Vienne - morte le 16 octobre 1793 à Paris), fut la dernière reine de France et de Navarre (1774-1792), épouse de Louis XVI, roi de France et de Navarre. Fille de l'empereur François Ier et de Marie-Thérèse d'Autriche, reine de Hongrie et de Bohême, était par son père, arrière-petite-fille de Philippe, duc d'Orléans, frère de Louis XIV, donc une descendante directe des rois de France Henri IV et Louis XIII. Par les Lorraine, les Bourbons et les Orléans, elle avait, paradoxalement, davantage d'ascendances françaises que son époux le roi Louis XVI, ce qui n'empêcha pas de la traiter d'" Autrichienne ". Louis-Charles de France, né en 1785 et mort en 1795, second fils de Louis XVI et de Marie-Antoinette, duc de Normandie, dauphin de France à partir de 1789, puis prince royal de 1791 à 1792. Après la mort de son père, en 1793, et suivant l'ordre dynastique, il est reconnu comme titulaire de la couronne de France sous le nom de Louis XVII par les puissances coalisées et par son oncle, futur Louis XVIII, mais n'est pas reconnu en France. Il meurt à la prison du Temple en 1795, à l'âge de dix ans, sans avoir régné ni en droit, ni dans les faits. Louis XVIII - né en 1755 sous le nom de Louis Stanislas Xavier de France, et par ailleurs comte de Provence (1755-1795) - est roi de France et de Navarre de 1814 à 1815 et de 1815 à sa mort, le 16 septembre 1824, à Paris. Il meurt sans descendance et est inhumé à la basilique Saint-Denis. Il est le dernier monarque français à recevoir ce privilège, et également le dernier mort sur le trône, les deux suivants ayant été renversés. Son frère puiné, le comte d'Artois, benjamin de Louis XVI, cinquième fils du dauphin Louis, et chef des ultras, lui succède sous le nom de Charles X. Marie Joséphine Louise de Savoie, princesse de Savoie puis, par son mariage, comtesse de Provence et reine titulaire de France, est née à Turin le 2 septembre 1753 et morte à Hartwell House (à Hartwell, dans le Buckinghamshire au Royaume-Uni) le 13 novembre 1810. Épouse de Louis-Stanislas de France, comte de Provence et futur Louis XVIII, elle échappe à la Révolution française et termine sa vie en exil. Gravure.

alb3630493 Drop-front desk (secrétaire à abattant or secrétaire en cabinet). Culture: French, Paris and Sèvres. Decorator: Oval front plaques decorated by Nicolas Bulidon (French, active 1763-92); Oval side plaques decorated by Marie-Claude Sophie Xhrouuet (active 1775-88); Six plaques decorated by Guillaume Noël (French, active 1755-1807); Two plaques decorated by Jacques-François Micaud (French, active 1757-1810). Dimensions: Overall: 47 × 31 3/4 × 16 3/8 in. (119.4 × 80.6 × 41.6 cm). Factory: Porcelain plaques by Sèvres Manufactory (French, 1740-present). Maker: Martin Carlin (French, near Freiburg im Breisgau ca. 1730-1785 Paris). Date: ca. 1773.Madame du Barry appears to have had an insatiable taste for furniture embellished with porcelain plaques. Between 1768 and 1774 she acquired ten such pieces from Simon-Philippe Poirier. On December 30, 1773, the dealer sold his frequent client a secretary with French porcelain on a green ground lavishly decorated with giltbronze mounts, a description that matches the Museum's piece. Furthermore, the Sèvres plaques attached to the front and sides are marked with the letter U for the year 1773, making that an even more plausible date for this secretary, which is stamped by Martin Carlin. Madame du Barry does not appear to have kept this desk for her personal use. Herself the recipient of magnificent gifts, the king's favorite seems to have been generous to others. She may have offered this particular piece as a wedding gift to Marie-Thérèse of Savoy (1756 - 1805), who married the comte d'Artois, the future Charles X of France, in November 1773. Among the belongings of the comtesse d'Artois seized by the Revolutionary government at Versailles in 1795 was a similar secretary. Although the dimensions of the countess's piece match those of the Museum's secretary, the ground color of the Sèvres plaques is not mentioned in the list of confiscated furniture. For that reason it may never be possible to establish a royal provenance for the Museum's example, especially since at least one nearly identical secretary is extant.The two oval compositions on the front showing baskets spilling over with lovely garden flowers are the work of Jacques-François Micaud, one of the floral painters at Sèvres known to have decorated differently shaped plaques for furniture. The large number of high-quality giltbronze mounts lends this piece a sumptuous air. Access to the interior of the secretary appears to be given by a pair of doors, but it is actually fitted with a fall front that lowers to form a writing surface, also revealing the multiple drawers and pigeonholes inside. This type of desk is called secrétaire à abattant (drop-front secretary) or secrétaire en cabinet (secretary on an open support or stand ).That the interior of a closed secretary could awaken the curiosity of visitors is illustrated by an amusing passage in one of the letters of Marie-Anne de Vichy-Chamrond, marquise du Deffand (1697 - 1780), to Horace Walpole. On June 3, 1766, she regaled him with the story of two friends of Madame de Beuvron who had seen a pretty desk in the boudoir of their hostess. Desiring to know what it was like inside, the ladies used their own keys to try to open the piece but one of them broke in the lock. They begged a valet whom they suspected of having witnessed their action not to betray them and promised to fetch a locksmith to repair the lock. The servant gave them no encouragement, stating coldly that it would have been better not to touch something that belonged to his mistress. (footnote 1)1. Walpole 1937 - 83, vol. 3 (1939 ), p. 62. Museum: Metropolitan Museum of Art, New York, USA.

alb4466427 Folding fan with a double sheet of paper with a military encampment and an army formation on the front, the siege of a city on the back, an ajour and embossed mother-of-pearl frame, This fan stands entirely devoted to the military company. It is a good example of a unit in sheet and frame. The magazine has a not-so-common, asymmetrical distribution on the front with a French army camp on the left and a marshal on the right that takes a parade along with high French officers on horseback. In the left cartouche: the soldiers in gray uniforms with tricorns adorned with white cocarde's are French troops between 1734 and 1757. From 1762 the cocarde's are black. A group of 'anspessades' can probably be seen here, noblemen, elite soldiers, who served in the infantry: 12 out of a company of 300 men. In the right cartouche: the cavelrymen in blue justaucorps (with red sleeves) are probably Gardes du Corps, Maison du Roi. The cavalrymen in red coats are Gendarmes de la Garde or Chevaux armies de la Garde or Mousquetaires. The middle figure - with a marshal staff in the right hand - bears the blue order ribbon of the 'Ordre du Saint Esprit' over the left shoulder. Possibly Louis XV (1710-1715-1774) is depicted here. Between 1740-8 this king fought the 'Austrian War of Succession in connection with the succession of Maria Theresia in the Austrian hereditary countries. The French, led by Maurits van Saksen, defeated the forbidden English, Dutch and Austrians in the Battle of Fontenay (Hainaut) on 11 May 1746 and at Lafeld (July 1747). The troops in the background are French regiments, see the white French royal flags. A soldier with a 'sponton' (officer) or a halberd (petty officer) can be seen on one of the lines. The composite, ornamental border around the performances is particularly striking. In addition to the military attributes that one would expect on such a range, various vegetables, including radish, eggplant, pumpkin and beans, are displayed prominently in the center.

alb3651546 Half-Figure of a Nude Man Facing Right. Artist: Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591-1666 Bologna). Dimensions: 6 7/16 x 7 3/16 in. (16.4 x 18.2 cm). Date: 1640's.Guercino drew this sparkling sheet, like the bulk of his drawings, in pen and brown ink, with additional washes to represent shadows. With great ease, the artist combined broad, sketchy passages, such as the forearms and hands, with the far more detailed and precisely drawn head. The distinctive border of the mount has an almost modern appearance, but it was applied in the early eighteenth century, probably in Italy, for the English collector John Bouverie (ca. 1723-1750), who in the 1740s acquired many Guercino drawings in Bologna.While the figure of this drawing has not been related to an executed work, it resembles quite closely the figural types in paintings of the 1640s, as for instance the figure of Christ in Christ and the Samaritan Woman of 1647 (Modena, Banco San Geminiano e San Prospero). In this painting the figure of Christ is clothed, as well as in two autograph drawings preparatory for the same subject (Royal Library, Windsor, inv. no. 2791 and Paris, Louvre Museum, inv. 6874), and a study for Christ Appearing to Saint Theresa (Royal Library, Windsor, inv. no. 2782) shows a partially clothed Christ in a similar attitude - one hand gesturing towards a nearby figure and one hand pointing towards his chest, as if revealing his identity. Another possible subject would be a Baptism of Christ, as the young, bearded figure is shown nude in the Museum's drawing. A painting of this subject, in half figure, is recorded in the artist's Libro dei conti on 15th April, 1634 ("Dall' Ill.mo Sig. March. Vitelli abbiamo ricevuto scudi 144 per il quadro del san Giovanni che battezza N.S. figure mezze N. 2 ed una testa -- scudi 144.") A three-quarter length version of this subject by a studio member or follower of Guercino, and not considered from the date of the artist's account book entry, is in Rimini (Pinacoteca Civica).The Museum's drawing appears to also date from the mid- to late-1640s, the period of the Modena Christ and the Samaritan Woman, as the handling of pen line and stippling, and ink wash are quite similar to that of the head of Christ in the autograph study at Windsor. The style and technique, still relatively uneconomical in terms of wash application, are typical of the 1630s, as are the extensive use of parallel hatching for internal modeling and background, and the dotted stippling on the face and shoulders. Also comparable to the Museum's drawing is Alexander the Great (Royal Library, Windsor, inv. no. 2625) or the Visitation (London, British Museum, inv. no. 1986,0621.14), as well as to studies for Cato of Utica saying farewell to his son of 1637, such as those in the Mahon Collection, on loan to the Ashmolean Museum, Oxford (inv. M & E, 27.) and Royal Library, Windsor (inv. no. 2566).The drawing surface is rubbed and seems now more inert in execution than it once was, but it should not be mistaken as a copy (Giulio Bora's opinion that this is a copy is annotated on the mount, November 2003). Of great historical interest, the drawing is still on an early collector's mount. The distinctively drawn early mount, with interrupted straight lines at syncopated intervals has been traditionally called a "Casa Gennari" mount (Lugt suppl. 2858c), and is thought to have been designed by the heirs of Guercino's nephews. It may actually be associated with John Bouverie (ca. 1722/23-1750), who seems to have acquired the Guercino drawings during his stay in Italy in 1745/46. The complex issues surrounding the early provenance of "Casa Gennari" and "Bouverie" drawings is discussed by Nicholas Turner, Drawings by Guercino from British Collections, exhibition catalogue, The British Museum, 1991, pp. 21-23, 229-30; and idem., "John Bouverie as a Collector of Drawings," The Burlington Magazine, vol. 136, no. 1091, pp. 90-99. The distinctive mount seen on this drawing was also attributed to Francesco Forni of Bologna, by William Griswold (1991). Museum: Metropolitan Museum of Art, New York, USA.

alb3612214 Endymion Sleeping. Artist: Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591-1666 Bologna). Dimensions: sheet: 8 3/8 x 9 3/4 in. (21.2 x 24.8 cm). Date: 1635-50.A naked shepherd slumbers for eternity in the moonlit landscape, his staff discarded at his side, his cloak gathered beneath his arms as a pillow. Perpetually young and handsome, Endymion is beloved by the moon goddess Selene-whose presence here is suggested by the waning crescent in the sky. The largely self-trained Bolognese artist Guercino (whose nickname means "squinty-eyed" in Italian) made this drawing in about 1650, at the height of his artistic maturity. He sketched the scene with characteristic energy, in sinuous lines of dark brown ink softened at the edges with fluent washes that shine against the white surface of the sheet.Sir Denis Mahon (see here "References": Mahon 1967, p. 8) first considered this drawing to be a study for the now lost picture of Endymion in full length painted for Don Antonio Ruffo of Messina. The payments for this picture are recorded in a document of March 1650 (as published by Giampetrino Zanotti in Carlo Cesare Malvasia, Felsina pittrice, Vite de'pittori bolognesi, Bologna, 1841, vol. II, p. 331: Under the year 1650 - " Il dì 2 Marzo. / Dal Sig. Pietro Antonio Davìa si è ricevuto ducatoni N. 100 per parte del Sig. D. Antonio Ruffo da Messina, per pagamento dell' Endimione figura intera, e questi fanno lir. 500 e le monete furono dobloni N.17 che fanno dobble d'Italia N. 34 che sono lir. 503. 4 con il costo della cassetta, e subbio -- scudi 125 lire 3.4."). In all, Guercino's "Libro de' conti" (account book) records the painting of five pictures with Endymion as a subject, including the Davia picture over a period of fourteen years. Four of these specifically describe half-figures. The payments are recorded in Guercino's Libro dei conti in December 1644, September 1647, November 1657 and May 1658 (See Malvasia in Zanotti, 1841, pps. 325, 328, 338, and 338, respectively). Only the picture executed for Don Antonio Ruffo depicted the sleeping Endymion in full length (see op. cit., p. 331, March 2, 1650). Guercino himself mentions this picture in a letter to Don Antonio Ruffo (dated March 16, 1650) as completed but not yet dry (see T.H. Fokker, Galleria Ruffo nel secolo XVII in Messina, con lettere di pittori ed altri documenti inediti, in Bolletino d' Arte, vol X, 1916, p. 98.) The museum's drawing is characterized by a simple outline, subtle figure modeling achieved with spare touches of wash, and thick pen and ink lines in the hair, as is typical of the 1630s. Shadows in obscured areas of the figure's head and eye sockets are achieved through a more concentrated application of pen and ink. Attention to surrounding details is minimal and the figure is foregrounded by spare layers of wash and parallel hatching, the use of which is also typical of his earlier style. The economic articulation of the landscape, indebted to Annibale Carracci's landscape studies, also ties this drawing to Guercino's earlier years. A drawing that combines this figure treatment with simple landscape elements is Two Nymphs and a Satyr, a study dated to the 1620s (London, Courtauld Institute Galleries, Witt Collection, inv. no. 1346). Autograph pen and wash drawings with a similar treatment of modeling and silhouette datable to the 1630s are Christ Appearing to Saint Theresa and Three Putti Amongst Clouds (both Royal Library, Windsor, inv. nos. 2782 and 2805, respectively) two pen and ink studies related to the painting Christ Appearing to Saint Theresa (1634) (Aix-en-Provence, Musee). Although a study for a clothed figure, the pen and ink Portrait of Cardinal Bernardino Spada (Haarlem, Teylers Museum, inv. no. H 103) datable to 1631, reveals a very similar treatment. Museum: Metropolitan Museum of Art, New York, USA.