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The Wallace Collection is in Hertford House, on the north side of Manchester Square, London, a short walk north from Oxford Street (Bond Street Tube Station).
From the Wallace Collection website: "Dining Room.
The room is furnished with still-life paintings depicting fruit and game. It also contains portraits by Houdon and Nattier of four aristocratic French women of the ancient régime, two of whom were victims of the Terror of the French Revolution."
The large painting on the far wall in this photo is "The Adoration of the Shepherds" c. 1665 - c. 1670 by Bartolomé-Esteban Murillo (1617 - 1682), Spain.
From Wikipedia: "The Wallace Collection is a museum in London, with a world-famous range of fine and decorative arts from the 15th to the 19th centuries with large holdings of French 18th-century paintings, furniture, arms & armour, porcelain and Old Master paintings arranged into 25 galleries."
"It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow bequeathed the entire collection to the nation. The museum opened to the public in 1900 in Hertford House, Manchester Square, and remains there, housed in its entirety, to this day. A condition of the bequest was that no object ever leave the collection, even for loan exhibitions. Admission is free."
The Wallace Collection's Guide to Galleries.
Wikipedia has a listing of items in the collection, with illustrations.
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This bascinet looks very similar to the one kept in the Wallace Collection in London: wallacelive.wallacecollection.org/eMuseumPlus?service=dir...
We might be dealing here with a fake, or a very similar, less finished example.
More information can be found on the website of the Musée lorrain: www.musee-lorrain.nancy.fr/en/collections/les--uvres-maje...
This bascinet looks very similar to the one kept in the Wallace Collection in London: wallacelive.wallacecollection.org/eMuseumPlus?service=dir...
We might be dealing here with a fake, or a very similar, less finished example.
More information can be found on the website of the Musée lorrain: www.musee-lorrain.nancy.fr/en/collections/les--uvres-maje...
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The Wallace Collection is in Hertford House, on the north side of Manchester Square, London, a short walk north from Oxford Street (Bond Street Tube Station).
The Wallace Collection website.
The painting above the fireplace is "An Allegory of Fruitfulness" by Jacob Jordaens 1620-1629, in the East Drawing Room.
From Wikipedia: "The Wallace Collection is a museum in London, with a world-famous range of fine and decorative arts from the 15th to the 19th centuries with large holdings of French 18th-century paintings, furniture, arms & armour, porcelain and Old Master paintings arranged into 25 galleries."
"It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow bequeathed the entire collection to the nation. The museum opened to the public in 1900 in Hertford House, Manchester Square, and remains there, housed in its entirety, to this day. A condition of the bequest was that no object ever leave the collection, even for loan exhibitions. Admission is free."
The Wallace Collection's Guide to Galleries.
Wikipedia has a listing of items in the collection, with illustrations.
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The Wallace Collection is in Hertford House, on the north side of Manchester Square, London, a short walk north from Oxford Street (Bond Street Tube Station).
From the Wallace Collection website: "European Armoury I. The arms and armour, horse equipment and cutlery, displayed in the first room of the European Armouries date from primarily the fourteenth to the early-sixteenth centuries."
Fionnuala O'Donnell (left), Events Officer at the Wallace Collection 2014, introducing the collection.
From Wikipedia: "The Wallace Collection is a museum in London, with a world-famous range of fine and decorative arts from the 15th to the 19th centuries with large holdings of French 18th-century paintings, furniture, arms & armour, porcelain and Old Master paintings arranged into 25 galleries."
"It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow bequeathed the entire collection to the nation. The museum opened to the public in 1900 in Hertford House, Manchester Square, and remains there, housed in its entirety, to this day. A condition of the bequest was that no object ever leave the collection, even for loan exhibitions. Admission is free."
The Wallace Collection's Guide to Galleries.
Wikipedia has a listing of items in the collection, with illustrations.
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The Wallace Collection is in Hertford House, on the north side of Manchester Square, London, a short walk north from Oxford Street (Bond Street Tube Station).
The Wallace Collection website.
From Wikipedia: "The Wallace Collection is a museum in London, with a world-famous range of fine and decorative arts from the 15th to the 19th centuries with large holdings of French 18th-century paintings, furniture, arms & armour, porcelain and Old Master paintings arranged into 25 galleries."
"It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow bequeathed the entire collection to the nation. The museum opened to the public in 1900 in Hertford House, Manchester Square, and remains there, housed in its entirety, to this day. A condition of the bequest was that no object ever leave the collection, even for loan exhibitions. Admission is free."
The Wallace Collection's Guide to Galleries.
Wikipedia has a listing of items in the collection, with illustrations.
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The Wallace Collection is in Hertford House, on the north side of Manchester Square, London, a short walk north from Oxford Street (Bond Street Tube Station).
From the Wallace Collection website: "West Gallery I. The Wallace Collection owns and an outstanding collection of Venetian views by Antonio Canaletto and Francesco Guardi. Some of Canaletto’s paintings were acquired by the 1st Marquess of Hertford and mark the beginning of art collecting in the family."
The large painting is "Venice: the Bacino di San Marco from San Giorgio Maggiore" c. 1735 - 1744 by Canaletto (1697 - 1768).
From Wikipedia: "The Wallace Collection is a museum in London, with a world-famous range of fine and decorative arts from the 15th to the 19th centuries with large holdings of French 18th-century paintings, furniture, arms & armour, porcelain and Old Master paintings arranged into 25 galleries."
"It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow bequeathed the entire collection to the nation. The museum opened to the public in 1900 in Hertford House, Manchester Square, and remains there, housed in its entirety, to this day. A condition of the bequest was that no object ever leave the collection, even for loan exhibitions. Admission is free."
The Wallace Collection's Guide to Galleries.
Wikipedia has a listing of items in the collection, with illustrations.
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Domenico Beccafumi, Judith with the Head of Holofernes.
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The Wallace Collection is in Hertford House, on the north side of Manchester Square, London, a short walk north from Oxford Street (Bond Street Tube Station).
From the Wallace Collection website: "East Galleries II. Here the world of seventeenth-century Holland is explored through small-scale domestic and genre scenes including masterpieces by Gerard ter Borch, Gabriel Metsu and Jan Steen."
From Wikipedia: "The Wallace Collection is a museum in London, with a world-famous range of fine and decorative arts from the 15th to the 19th centuries with large holdings of French 18th-century paintings, furniture, arms & armour, porcelain and Old Master paintings arranged into 25 galleries."
"It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow bequeathed the entire collection to the nation. The museum opened to the public in 1900 in Hertford House, Manchester Square, and remains there, housed in its entirety, to this day. A condition of the bequest was that no object ever leave the collection, even for loan exhibitions. Admission is free."
The Wallace Collection's Guide to Galleries.
Wikipedia has a listing of items in the collection, with illustrations.
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It's always an amazing day when I get to handle and photograph works of art that belonged to notable historical figures.... Particularly when that person was Marie Antoinette! Follow the link for more information: wallacelive.wallacecollection.org/eMuseumPlus?service=Ext...
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The Wallace Collection is in Hertford House, on the north side of Manchester Square, London, a short walk north from Oxford Street (Bond Street Tube Station).
The Wallace Collection website.
From Wikipedia: "The Wallace Collection is a museum in London, with a world-famous range of fine and decorative arts from the 15th to the 19th centuries with large holdings of French 18th-century paintings, furniture, arms & armour, porcelain and Old Master paintings arranged into 25 galleries."
"It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow bequeathed the entire collection to the nation. The museum opened to the public in 1900 in Hertford House, Manchester Square, and remains there, housed in its entirety, to this day. A condition of the bequest was that no object ever leave the collection, even for loan exhibitions. Admission is free."
The Wallace Collection's Guide to Galleries.
Wikipedia has a listing of items in the collection, with illustrations.
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Workshop of Pierre Reymond, The Last Judgement
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The Wallace Collection is in Hertford House, on the north side of Manchester Square, London, a short walk north from Oxford Street (Bond Street Tube Station).
From the Wallace Collection website: "The Porphyry court was transformed in 2000 when it was doubled in size and provided with a dramatic pair of flights of stairs. The impressive array of porphyry vases and columns and marble busts around the walls give the area its name."
From Wikipedia: "The Wallace Collection is a museum in London, with a world-famous range of fine and decorative arts from the 15th to the 19th centuries with large holdings of French 18th-century paintings, furniture, arms & armour, porcelain and Old Master paintings arranged into 25 galleries."
"It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow bequeathed the entire collection to the nation. The museum opened to the public in 1900 in Hertford House, Manchester Square, and remains there, housed in its entirety, to this day. A condition of the bequest was that no object ever leave the collection, even for loan exhibitions. Admission is free."
The Wallace Collection's Guide to Galleries.
Wikipedia has a listing of items in the collection, with illustrations.
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The Almain album from our library contains fantastic Greenwich Amour designs from the Royal Almain Armoury. This particular album is very large and the pages are thick and stiff - A large piece of heavy glass was placed over the open pages to flatten them for photography. follow the link below to view our spectacular Greenwich Armour 'Buckhurst'
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The Wallace Collection is in Hertford House, on the north side of Manchester Square, London, a short walk north from Oxford Street (Bond Street Tube Station).
The Wallace Collection website.
From Wikipedia: "The Wallace Collection is a museum in London, with a world-famous range of fine and decorative arts from the 15th to the 19th centuries with large holdings of French 18th-century paintings, furniture, arms & armour, porcelain and Old Master paintings arranged into 25 galleries."
"It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow bequeathed the entire collection to the nation. The museum opened to the public in 1900 in Hertford House, Manchester Square, and remains there, housed in its entirety, to this day. A condition of the bequest was that no object ever leave the collection, even for loan exhibitions. Admission is free."
The Wallace Collection's Guide to Galleries.
Wikipedia has a listing of items in the collection, with illustrations.
Sony NEX-5 with 16mm f/2.8 and VCL-ECU1 ultra wide adapter
Toggle keyboard "L" for Full Screen
The Wallace Collection is in Hertford House, on the north side of Manchester Square, London, a short walk north from Oxford Street (Bond Street Tube Station).
The Wallace Collection website.
From Wikipedia: "The Wallace Collection is a museum in London, with a world-famous range of fine and decorative arts from the 15th to the 19th centuries with large holdings of French 18th-century paintings, furniture, arms & armour, porcelain and Old Master paintings arranged into 25 galleries."
"It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow bequeathed the entire collection to the nation. The museum opened to the public in 1900 in Hertford House, Manchester Square, and remains there, housed in its entirety, to this day. A condition of the bequest was that no object ever leave the collection, even for loan exhibitions. Admission is free."
The Wallace Collection's Guide to Galleries.
Wikipedia has a listing of items in the collection, with illustrations.
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Unknown Artist / Maker, Jupiter and Io.
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Happy Halloween! Hendrik Hondius the Elder, Death and the Huntsman.
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"The Dresden painter Dietrich was known for his pastiches of Rembrandt and other painters of the seventeeth and eighteenth centuries. When he was a week old, the infant Christ was taken to the Temple, circumcised and given the name Jesus (Luke II, 21). Mosaic Law required the operation as a token of the Covenant. Here, Mary and Joseph are seen kneeling on the left, while the operation is performed on a platform in the centre. The empty chair on the right is the Chair of Elijah, on which the child would have been placed immediately before the ceremony, and the flame used to heat the knife can be seen dimly in the right background. Dietrich painted several synagogue scenes, including two versions of the Presentation in the Temple dated 1739 and 1740 (Dresden, Gemäldegalerie).
Paul Périer; his sale, Paris, 16-17 March 1843, no. 9; Richard Seymour-Conway, 4th Marquess of Hertford.
East Galleries - The Wallace Collection." from
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"Perfume Burner by Pierre Gouthière (1732 - 1813) , (mounts)
François-Joseph Belanger (1744 - 1818), Designer Augustin Bocciardi (c. 1729 - 1797), Jasper cutter France. 1773 - 1775
Considered to be one of the most outstanding pieces of French gilt bronze of the eighteenth century, the perfume burner is one of the most celebrated works by Pierre Gouthière (1732-1813), one of the leading bronziers in France before the Revolution. Gouthière has used all his celebrated skills as a chaser and gilder to produce something of delicacy and refinement that has been highly-prized by collectors since the 1770s. Its first owner was Louis-Marie-Augustin, duc d’Aumont (1709-82), first gentleman of the king's bedchamber and a leading art patron, who commissioned the architect François-Joseph Bélanger to design tables, columns and objets d’art for him incorporating precious materials such as hardstones and porcelain, all mounted in gilt bronze. Gouthière was responsible for many of the gilt-bronze mounts on Bélanger’s pieces, and it was these that helped to spread the bronzier’s fame over the ensuing decades.
The quality of the chasing is extraordinary: each grape on the vine is clearly defined and each hair on the goats’ hooves delicately textured. The satyrs’ faces at the top of the legs appear to have had life breathed into them, while every vein and every wrinkle of the leaves has been chased with great naturalism. The bowl of the perfume burner is made of red jasper, probably cut in the workshop set up by the duc d’Aumont.
The design incorporates a tripod with its legs entwined by a snake, a motif that is also found in design drawings by other architects and ornament designers of the period, and was employed perhaps for the first time by Claude-Nicolas Ledoux, for a chimneypiece made for Madame du Barry’s new pavilion at Louveciennes in 1771-3, also with gilt-bronze mounts by Gouthière. Such designs are testament to the contemporary preoccupation with the Antique as a source for art, and the ultimate source for the perfume burner is a Renaissance marble bas-relief flanking the entrance to the Cesi chapel in the church of Santa Maria della Pace in Rome. Although carved in the early sixteenth century by Simone Mosca (1492-1554), the chapel was thought in the eighteenth century to have been the work of Michelangelo and was one of the buildings regularly studied and drawn by foreign architects and artists visiting the city.
D’Aumont displayed the perfume burner and other objects designed by Bélanger in his newly renovated apartment on the Place Louis XV (now the Place de la Concorde). After his death they were sold at a celebrated auction in 1782 at which buyers included both the king and the queen and some of the richest collectors in France. The dealer Jean-Baptiste-Pierre Le Brun, husband to the celebrated artist Elisabeth Louise Vigée Le Brun, bought the perfume burner on behalf of Marie-Antoinette, paying the highest price for a single object at the sale. The queen placed it in the centre of a display on the chimneypiece of one of her newly-renovated private rooms, the Cabinet de la Méridienne at Versailles. Although she entrusted it to the dealers Martin-Eloi Lignereux and Dominique Daguerre for safe keeping in 1789, it was subsequently seized and sold to raise money for the French state.
Hôtel d'Aumont; duc d'Aumont sale, 12 December 1782, no. 25; Le Brun, for Marie-Antoinette. Fournier sale, 31 May 1831, no. 26. The prince de Beauvau; Beauvau sale, 21 April 1865, no. 19; Richard Seymour-Conway, 4th Marquess of Hertford.
The study - The Wallace Collection" from
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Exhibited at the Paris Salon of 1853. The French title, under which the painting was exhibited at the Salon, is taken from a poem by Charles Reynaud dedicated to Meissonier. The figures wear costume derived from the sixteenth century and the subject evokes sixteenth-century Venetian painting as well as the eighteenth-century fête galante. The standing lady in pink is probably Apollonie Sabatier (1822-90), a friend of Meissonier who is said to have become the mistress of Richard Wallace in either the 1840s or 1860s. Among the many artists and writers who attended her salons in the rue Frochot were Meissonier, Baudelaire, Flaubert and Gautier.
Quoted From: Wallace Collection Online - The Recital
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"One of Maes’ most original genre motifs was the interior with an eavesdropper, here an elegant housewife, who smiles engagingly, inviting the viewer to witness the misbehaviour of the servants downstairs. The Dutch call this glimpse of action beyond the main scene a 'doorkijkje'. This device had been used in northern art as early as the fifteenth century. The painting’s warm palette and strong light and shade effects relate it to Rembrandt, but Maes’ originality lies in the emphasis on the illusion of interior space. The light here not only serves the depiction of space and depth, but also underlines the judgmental attitude, by contrasting the calm and probity of the dining room with the moral as well as physical descent towards the heated kitchen.
Mme. Hoofman, 1842; Niewenhuys, 1846; Henry Labouchère, by 1851. Richard Seymour-Conway, 4th Marquess of Hertford, after 1857.
East galleries - The Wallace Collection"
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"Although Canaletto’s views were essentially topographically accurate, he used some artistic licence to make his compositions more appealing to tourists. Canaletto would thus idealise his native city to create prospects which sometimes surpassed reality and included as many tourist sites as possible. A good example is found in this painting, where the artist squeezed the Dogana in the left foreground and changed the Library’s actual position in order to include both in the same composition.
This painting, together with its pendant (P497), form a pair of two large views which show the Bacino di San Marco from opposite vantage points; Canaletto often depicted famous places in Venice from opposite views. P499 looks towards the Church of San Giorgio Maggiore, in the distance on the right, with the Riva degli Schiavoni in the background. In the left foreground is the Dogana da Mar, the customs house. Its low tower is crowned by a bronze sculpture of two male nudes supporting a gilded globe, topped by an allegorical figure of Fortune holding a sail reflecting Venice’s maritime trade.
Both P499 and P497 were acquired by the 1st Marquess of Hertford at an unknown date, probably as a reminder of the Grand Tour he undertook in 1738-9.
The conservation of Venice: the Bacino di San Marco from the Canale della Giudecca was made possible in 2017 by the generous support of the Bank of America Art Conservation Project.
Acquired by Francis Seymour-Conway, 1st Marquess of Hertford.
Great Gallery, The Wallace Collection" from
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Pierre-Jean Mariette, a great connoisseur and collector and Watteau's contemporary, identified the subject as the family of Pierre Sirois (1665-1726), art dealer and friend of Watteau. The existence of a drawing for the head of the man in the centre, inscribed ‘Syroie’ (present whereabouts unknown), suggests that it is a portrait of Watteau's friend. The two female heads are sufficiently individual in character to be portraits and could be identified with two of Sirois's daughters. They are both taken from the same drawing in the British Museum. The male heads - including one on the left that was painted over by the artist - were taken from drawings with more generic figures in theatre costume that appear in several of Watteau's paintings. They are unlikely to be family members. Watteau combined some members of the Sirois family with generic Fête galante characters in theatrical costume.
The dealer Pierre Sirois played an important part in Watteau's career. In 1709 he bought one of Watteau's earliest independent paintings; from 1719 he published the first prints after Watteau's paintings such as the one after "Pour nous prouver que cette belle" (P377). His son-in-law, the dealer Edme Gersaint was immortalised by Watteau's famous "Shopsign" (Berlin, Schloss Charlottenburg).
Sirois is dressed as the commedia dell'arte character Mezzetin. Right above him appears the architectural sculpture of Pan hinting at an unpredictable and lusty character. This private joke and unusual combination of group portrait and Fête galante suggest that the painting was created as a personal commissioner even a gift for the artist’s friend.
Source: The Wallace Collection
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One of several whole-length figures of Punch by Meissonier, this was painted on a door panel in the Paris apartment of Apollonie Sabatier (see Meissonie.. The panel was cut from the door and retouched by the artist for the sale of Mme. Sabatier’s collection in 1861. The louche character of Punch was a not inappropriate decoration for the apartment of a celebrated courtesan.
Quoted From: Wallace Collection Online – Polichinelle
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'Pour nous prouver que cette belle' belongs to a series of three paintings with a similar group of main characters. It appears to be a transitional composition between Watteau’s 'Fête galante with a lute player and a bust of Bacchus' (c.1717; Potsdam, Schloss Sanssouci) and 'Les charmes de la vie' at the Wallace Collection (c.1718-19; P410), both much larger and of the same size. The seated woman in profile and the theorbo player are closer to the painting in Potsdam. Watteau might have produced this smaller and more condensed version as a model for a print by Louis Surugue published in 1719. The painting had as a pendant 'Arlequin, Pierrot and Scarpin' in Waddesdon Manor (The National Trust, The Rothschild Collection) that became the model for a second print of the same size, also by Surugue. Both paintings were slightly enlarged before the prints were made, at most a year after they were painted. This may well have happened under Watteau's eyes as his friend Pierre Sirois published both prints (see P381).
Earlier doubts about the attribution of both paintings to Watteau are unfounded.
Source: The Wallace Collection
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On a palatial terrace, recalling the grandiose architectural settings of Veronese and the ‘gallant companies’ of Hieronymous Janssens, a gentleman tunes a large lute, or ‘chitarrone’. To his left a girl, as yet too young for love, stands ignored like the bass viol beside her. The playful flirtation of a young man and woman behind is paralleled in the foreground by the game of a little girl with a dog. A second seated woman plays the guitar while behind her a gentleman, identified as Watteau’s friend the painter Nicolas Vleughels (1668–1737), leans proprietarily against her chair. Beyond the terrace figures stroll in a park landscape identified in the eighteenth century as the Champs Élysées (see Watteau P389). ‘Les charmes de la vie’ is the last and most elaborate treatment of a theme of love and music explored by Watteau across a series of related paintings.
Source: The Wallace Collection
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artuk.org/discover/artworks/les-charmes-de-la-vie-209434
www.wga.hu/html/w/watteau/antoine/1/11charme.html
"Owing to its similarity to another painting in the Wallace Collection, the Boy with a Hawk was thought in the nineteenth century to be by Nicolaes Maes. However, it reveals the characteristic broad handling of Van Noordt.
George Keith, 10th Earl Marischal. A.-C.-C.-B. Perregaux, comte de Perregaux; his sale, Paris, 08-09 December 1841, no. 17; Duchâtel. Richard Seymour-Conway, 4th Marquess of Hertford, before 1848.
East Galleries - The Wallace Collection "
Presented with joyously broad handling, this portrait of a boy and his falcon is characteristic of the Dutch painter Joan van Noordt.
Dated c.1665, the boy’s rich costume evokes the elegance of Van Dyck and of Van Noordt’s Flemish contemporaries such as Gonzales Coques, while the sitter’s occupation suggests the status of the huntsman.
The picture also reflects the taste for a more aristocratic treatment in Dutch portraiture in the second half of the seventeenth century, and represents a refined variation on the tradition of falconer portraits painted by Rembrandt and Bol in the 1640s.
Discover the work on display in our East Galleries.
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"Thought in the nineteenth century to be by Rembrandt, the picture is a weak reduced copy of his self-portrait of 1652 in the Kunsthistorisches Museum, Vienna. The retouched ‘signature’ shows how Rembrandt was called ‘Paul’ in the eighteenth and nineteenth centuries.
Baron Schönborn, by 1719; Schönborn sale, 18 May 1867, no. 101; Lafitte, for Richard Seymour-Conway, 4th Marquess of Hertford.
East galleries - The Wallace Collection"
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Initially renowned for his numerous genre scenes and history paintings, Netscher concentrated on portraiture from 1670, gaining considerable recognition.
Netscher’s masterly ability to convey textures is particularly evident here. The sitter is portrayed wearing fashionable 17th-century garments and the striking orange fabric of their clothes highly contrasts with the intricate pattern of the rug.
Source: The Wallace Collection
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The painting is an example of the pastoral in Boucher's work from the late 1740s (see P385). In an Arcadian landscape a shepherd plays the flute to a shepherdess who is about to repay his efforts with a crown of flowers and the reward of her affections.
Boucher repeatedly took his inspiration from the immensely popular pantomimes of Charles-Simon Favart who created a contemporary Parisian version of Arcadian literature. At the opéra comique, where Boucher was both set designer and a keen member of the audience, Favart’s musical dramas combined Arcadian idealism and aristocratic sensibilities with the rustic characters of popular theatre. This painting might illustrate scene V of Favart’s 'Les Vendanges de Tempé' (The Harvest in the Vale of Tempé) of 1745, which opens with the shepherd playing the flute to his sweetheart Lisette - or it is inspired by Favart in more general terms. It was probably painted c.1747-50 in the aftermath of Favart’s stage success. The original, irregular shape of the canvas suggests that the picture originally formed part of a decorative scheme. Neither circumstance of the original commission nor companion pieces are known.
Source: The Wallace Collection
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Félix Massue (1811-69) had a distinguished military career, rising through the ranks to become a general in 1868. He served in North Africa 1836-52 and in Italy in 1859. At the time of Meissonier’s portrait he was Colonel of the Dragons de l’Impératrice. He may have known the 4th Marquess of Hertford through his duties with the Imperial Guard.
Quoted From: Wallace Collection Online - Colonel Félix Massue
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The Harpsichord Lesson shows Jan Steen's later, humorous response to the small, delicately-painted pictures of the mid to late 1650s by Ter Borch and Frans van Mieris, which often deal with the rituals of courtship. Here, a mismatched pair of lovers forms the subject: an old fool, in outmoded dress, masquerades as the music teacher of a prim young girl, seated at a harpsichord. The large key hanging prominently in the centre of the picture is placed on a line above the hand of the old man, implying his desire. That, however, his advances go unnoticed is indicated by the painting above it. It shows Venus, the goddess of love, and Cupid, the god of erotic desire, both of whom are asleep.
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"A similar subject to Dou’s Hermit, also in the collection, A Hermit at Prayer is one of several replicas of an original painting by Dou, signed and dated 1646, now in the Alte Pinakothek in Munich.
Rausch von Traubenberg. [Possibly anon. sale, Amsterdam, 09 April 1783, no. 20; Ploos. Pieter Cornelis Hasselaar sale, Amsterdam, 28 November 1797, no. 1; 'Vodo'. Anon. )George Crauford) sale, Christie's, 26 April 1806, no 25; Lord Kinnaird]. Francis Charles Seymour-Conway, 3rd Marquess of Hertford, by 1842.
East Galleries - The Wallace Collection"
from
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A widower proudly shows off his two daughters before a portrait of his late wife. The two little girls are presented as ideal examples of budding feminine charm, both pretty and modest in attitude. The elder also displays her proficiency on the guitar. During the eighteenth century, this picture was believed to depict Coques himself and his family, but it does not accord with the artist’s engraved self-portrait of 1646, and he is known to have had only one daughter by his first wife.
Source: The Wallace Collection
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