Yale University Library 39002025319394 YALE UNIVERSITY ART LIBRARY GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND PORTRAIT OF WATTRAU, WITH HIS PATRON. M. DE JULIENNE, Engraved by N. H. Tardieu. G. 14 ^i^^is^'V"/:^ WATTEAU BOUCHER AND THE FRENCH ENGRAVERS AND ETCHERS OF THE EARLIER EIGHTEENTH CENTURY BOOKS OF REFERENCE HuBER, M., RosT, C. C. H., and Martini, C. G. Manuel des curieux et des amateurs d'art. Zurich 1 797-1808. Vol. VIII (Ecole de France, seconde partie) 1804 > RoBERT-DuMESNiL, A. P. F. Le Peintre-graveur Fran9ais. Paris 1835-71 > Baudicour, p. de. Le Peintre-graveur Fran^ais continue. Paris 1859, 1861 .^ DupLESsis, G. La gravure en France. Paris 1 861 > GoNcouRT, Edmond de. Catalogue Raisonne de I'ceuvre peint, dessine, et grave d'Antoine Watteau. Paris 1875 ^ BocHER, E. Les gravures fran^aises du 18'^ siecle. IV. Lancret. Paris 1877 / > PoRTALis, R., and Beraldi, H. Les graveurs du 18'' siecle. Paris 1880-82 DoHME, R. Antoine Watteau, und die Schule Watteau's. Jahrbuch der kgl. Pr. Kunstsammlungen. IV (1883) 217 y Bourcard, G. Les Estampes du 1 8° siecle. Ecole Fran9aise, Paris 1885 ^ Dessins, gouaches, estampes, du 18° siecle. Paris 1893 Frisch, Albert. Gemalde und Zeichnungen nach dem von Boucher und unter dessen Leitung gestochenen Werke, in Lichtdrucii hergestellt von A. F. Berlin [1885-88] Mantz, Paul. Antoine Watteau. Paris 1892 (and Gazette des 'Beaux-Arts, 1889, 1890). Cent Dessins de Watteau graves par Boucher. Paris < Phillips, (Sir) Claude. Watteau. London 1895 (revised edition 1907) ScHEFER, Gaston. Catalogue des Estampes . . . composant le Cabinet des Estampes de la Bibliotheque de I'Arsenal. 3'' livraison, pp. 154-188. Paris 1895 (contains the most authoritative list of Julienne's " CEuvre de Watteau ") ^ DiLKE, (Lady). French Engravers of the Eighteenth Century. London 1902 Josz, Virgile. Antoine Watteau. Paris 1905 Michel, Andre. Francois Boucher. Paris 1907 NoLHAC, Pierre de. Fran9ois Boucher. Paris 1907 y Nevill, Ralph. French Prints of the Eighteenth Century. London 1 908 ^ Delteil, LoYs. Manuel de I'Amateur d'Estampes du 18" siecle. Paris 1910 f 5 g WATTEAU, BOUCHER, ETC. , TT need hardly be said that Watteau does not figure in this series fifj I by virtue of being a great engraver or etcher. But it is our •J3 intention to deal with phases and periods of engraving as well ^ as with separate masters of the art, and a period is often best ^ defined by the painter who was the inspiring force behind a whole group of engravers. Watteau was never the head of a school of engravers in the same sense as Rubens. Rubens realised, like Raphael and Van Dyck, the practical benefit that might be reaped from issuing prints after his own works, and almost monopolised the time of several of the greatest engravers of the period, keeping them in some instances in his studio, and giving the closest supervision to the pro gress of their work. /With Watteau, on the other hand, it remained rather for the publisher and patron to have his work reproduced in engraving, and in spite of his early popularity, a premature death at the age of thirty-six rendered it impossible for any large number of prints to have been produced under his personal supervision. It was only after his death that his constant friend and patron, M. de Julienne, was able to realise the project of a corpus of engravings that should adequately illustrate the master's achievement as painter and draughtsman. And no painter has received a more magnificent monument than the superb " Recueil " carried out by Julienne as a memorial to his friend.l The engraving by Tardieu, after a lost picture, given as our frontispiece, is the happiest record of a disinterested friendship that will always reflect honour on the master's patron. Julienne's corpus, in four large folio volumes, appears to have been completed in 1734, and issued in a hundred copies at an original price of five hundred livres.* The first volume bears the title " L'oeuvre d'Antoine Watteau, Peintre du Roy en son Acad^mie Roiale de Peinture et Sculpture. Grav6 d'apres ses tableaux et desseins originaux tir^s du Cabinet du Roy et des plus curieux de I'Europe. Par les soins de M. de Jullienne. Fixe a cent exemplaires des p"^^^ epreuves." This first volume is almost entirely limited to reproductions of the paintings (including both easel pictures and de corative panels), with the exception of two charming series of small plates,, the "Figures de Modes, dessinees et gravies a I'eau-forte par Watteau et termin^es au burin par Thomassin le fils," and the " Figures fran9aises et comiques nouvellement invent^es par Watteau " * A later edition was announced by the widow of Fran9ois Chereau in 1739, at a price of 250 livres. 5 GREAT ENGRAVERS (engraved by Desplaces and others). Then followed two somewhat smaller folio volumes reproducing about three hundred and fifty drawings, with the title " Figures des difiF6rents caracteres de paysages et d 'etudes dessindes d'apres nature par Antoine Watteau. Gravies a I'eau-forte par des plus habiles peintres et graveurs du temps. Tirees des plus beaux Cabinets de Paris. A Paris chez Audran, graveur du Roy, et chez F. Chereau, graveur du Roy." Finally as the fourth volume of the series came the second of the paintings, with the title " CEuvre des estampes gravies d'apres les tableaux et desseins de feu Antoine Watteau . . . 4^ et derniere volume, A Paris chez Gersaint." It is clear from a reference to the progress of the work in the second part of the " Figures des diffdrents caracteres," and from an announcement of the second volume illustrating the paintings, that the volumes were issued severally as they were completed, and in the order we have given. Julienne was no doubt personally responsible for commissioning the engraving of the majority of the plates in the first and last volumes, as well as the whole series of plates after the drawings. But from the addresses that figure on many of the prints in the two volumes of paintings, it appears that he must also have obtained possession of, or permission to use, numerous plates previously published by printsellers such as Gersaint and Chereau. The plates in the two volumes of drawings are numbered (up to 350), but in regard to the two volumes reproducing the paintings it is difficult to define exactly what they originally contained, as the plates are not numbered, and all the bound copies known seem to show variations. Works of this kind tend to get cut up and sold separately, so that bound copies are of great rarity and value. There is an extremely fine series in the British Museum that once belonged to the well-known eighteenth-century collector John Barnard ; the Bibliotheque Nationale, Paris, possesses another, while the most interesting series of all is in the Bibliotheque de I'Arsenal, Paris. In this last series the published engravings after the drawings are supplemented by a large number of plates which were prepared for the work but never used in the regular issue. The plates of the " Figures des difFer^nts caracteres " occur in several states, (i) separate proofs before the numbers ; (ii) the ordinary published state with the numbers ; (iii) with further shading, and landscape background added by Huquier, who had acquired the plates and issued them later with a new numbering. Their beauty is almost entirely spoilt by the additions made in this late issue. It is surprising how large a number of the engravings are after 6 WATTEAU, BOUCHER, ETC. paintings whose present locality is unknown, if indeed they are not irretrievably lost. But there is no catalogue of Watteau's painted work in existence done from a comprehensive first-hand study of his works throughout Europe,* so that one may reasonably hope that many of the subjects are still to be unearthed in private, and even public, collections. We have indicated as far as possible in our list the locality of the original pictures or drawings. l(The engravers who reproduced Watteau's pictures worked in a mixed style of line-engraving and etching, which is the direct development of the method of G6rard Audran, the most iremortant of the classical French engravers of the preceding century.) Two of Gerard's nephews, Jean Audran and Benolt Audran the elder, contributed largely to the perfecting of the particular style of engraving which marks the school, while Jean's son, Benoit Audran the younger, did even more after Watteau than his father or uncle. (/The sparkling play of light on costume which characterises Watteau's Fetes Galantes could only be rendered in its brilliance by the clear lines of engraving, but his landscape and the subtle varieties of tone on every rnoving form and figure needed the etcher's freer touch to interpret. |No engravers, except perhaps those of the school of J. M. W. Turner, have surpassed the achievements of N. H. Tardieu, Benoft Audran the younger, Laurent Cars, and J. P. Le Bas (to cite some of the best of Watteau's interpreters) in translating the most delicate tones of the brush into terms of black and white. In the reproduction of drawings one feels that the engravers were less successful. It is enough to compare the wonderful chalk drawing of a Lady's Head, in the collection of Mr. J. P. Heseltine, with the etching, to realise how much has been lost of the exquisite delicacy of sentiment and expression of the original. And in this case the etcher is Frangois Boucher, the greatest genius in the whole group of graver- interpreters. Much of course must be allowed for the practical im possibility of rendering the soft shades of black and red chalk (the usual medium of Watteau's drawing, and the direct descendant of a style frequently used by Rubens) in the hard lines of black and white. Never theless when originals are not known and when we make no special demands on fidelity of reproduction, it must be confessed that the etchings of Boucher, the Audrans, Comte Caylus, Cars, Lepici6, TremoUiere, and the rest are delightful reflections of Watteau's style. * The brothers De Goncourt were among Watteau's most sympathetic appreciators, but their catalogue of his work (the best in existence) was based on little first-hand knowledge except for the pictures in France 7 GREAT ENGRAVERS It is interesting to note in certain instances the existence not only of Watteau's first sketch from the life, but of more careful drawings (either by Watteau himself, or by his engraver) used as the immediate originals for the prints. I would refer in particular to the subject U Acteur Poisson en habit de paysan, in the engraved series "Figures Fran9aises et Comiques," for which the immediate original for the engraving by Desplaces is in Stockholm, and the larger and much more spirited first sketch in the British Museum. One is tempted to regard the smaller elaborated study as the work of the engraver, but as two similar studies are preserved in Stockholm for Watteau's original etchings in the " Figures de Modes," it is more likely that they are all Watteau's own drawings. We have referred to the plates after the drawings as etchings, and to those reproducing the pictures as engravings. But strict definition is dangerous, for i&w of the plates are pure etchings in the sense of being only bitten by the acid and not cut with the graver at all. In fact it will be found that in nearly every case the etched line is reinforced with the burin to give the brilliance and sparkle which would otherwise be lost, Watteau's few original etchings are all here reproduced. First seven small costume studies in the series of eleven " Figures de Modes " (see i-vii) ; then the preliminary etching in La Troupe Italienne, a subject which was also reproduced, ostensibly from a drawing, by Francois Boucher (see viii, ix) ; and finally, if tradition be correct, the preliminary etching of the Recrue allant joindre le Regiment, which was finished in engraving by S. H. Thomassin (x). This last subject shows Watteau in the less familiar vein of painter of scenes of military life. His early life at Valenciennes, where he was born just on the borders of Flanders and France,* was a natural centre of military activity, and it is interesting that this picture was practically the first that really started him on his short career of success in Paris. He cares little for the horrors, the miseries, or the pomp of war, these are left to artists such as Callot, Goya, and Van der Meulen, but his genius for colour and movement finds a congenial theme in the sparkling evolutions of marching battalions, rendered with such vitality and swing in the subject reproduced. While speaking of Watteau's early life at Valenciennes, we would * But for the treaty of Nimeguen in 1678 (six years before his birth) by which the border was newly marked out, Watteau would have been born a Fleming. 8 WATTEAU, BOUCHER, ETC, refer to an engraving by Lehardy de Famars of a lost picture. La Vraie Gaieti, which shows how absolutely Flemish his early work must have been. It is remarkable that the exquisite painter of the ^ Fetes Galantes could at one period have been producing a picture of peasant life which might pass for a Teniers. Perhaps this close dependence on Teniers may account for the loss of this and other Watteau pictures in the same style. They may merely be hiding i somewhere under the more likely name of the Flemish master. ' According to its title, Boucher's print of La Troupe Italienne is etched after a drawing by Watteau. Granting the possibility of a misleading inscription, and that it is actually based on the same picture reproduced by Watteau and Simonneau (now in the collection of Baron Edmond de Rothschild), it is interesting for its individual rendering of the subject. It is much less of one tone than the Watteau etching, and has all the emphatic touches which are asso ciated more with a drawing than a finished painting. There was a version of the subject at Blenheim, but I have not been able to find whether this could have been Boucher's original rather than the Rothschild picture. As it was sold for only twelve guineas in the great sale of the Marlborough pictures at Christie's in 1886, one is inclined to infer that the picture was merely a copy. As an etcher Francois Boucher is the most important figure in the earlier part of the eighteenth century in France. The repro duction of Watteau's drawings was one of the earliest works of the famous painter. M. de Julienne was as clear-sighted in his encourage ment of the young Boucher as he had been with Watteau, giving him carte blanche to engrave as many as he pleased of the series of draw ings he intended for his Watteau CEuvre. Altogether Boucher etched about a hundred and twenty-five out of the whole series of three hundred and fifty, besides engraving several of the paintings (mostly the decorative panels) that were published in the other two volumes. In addition to his work for Julienne, Boucher etched a considerable number of separate subjects, chiefly no doubt in the early part of his career before he had attained his popularity as a painter. Three of the most charming of these are here reproduced (li-liii). With him as with Watteau, the more important prints from the point of view of the market and the collector are not his own original etchings but engravings by others after his paintings and drawings. Of the line- engravings Beauvarlet's pair of Le T)epart du Courier and UArrivSe du Courier are among the most attractive and popular. His drawings were reproduced less frequently by the methods of line-engraving and 9 GREAT ENGRAVERS etching, that had to suffice for Watteau, than in the process of crayon- engraving, which was only discovered towards the middle of the eighteenth century by J. C. Franfois. By the use oi roulettes, mattoirs, needles, and punches of various descriptions, either through the etched ground as a preliminary to biting with the acid, or directly on to the plate as with the graver, a very close facsimile of the texture of a chalk- drawing could be obtained. The roulette includes tools of various forms with the common feature of a revolving head, provided with a serrated edge or a surface of cutting-points to produce the grain on the copper; the mattoir, an instrument with a butt-end provided with irregular points like the roulette. Sometimes an impression was produced from several copper-plates to give a variety of colours. Louis Bonnet in particular carried the process of crayon-engraving to great perfec tion for the reproduction of coloured drawings and pastels. We have not reproduced any of his famous pastel engravings, for their quality would be almost entirely lost in half-tone reproduction, but merely give in this place two of Demarteau's monochrome crayon-engravings after drawings by Boucher (lviii, lix). Gilles Demarteau was a much better artist than Bonnet, only less inclined to the experi ments in colour which render Bonnet's work so remarkable. Towards the end of his life, about 1719-20, Watteau had passed some time in England, a fatal change, according to his friends' reports of the progress of the consumption to which he finally succumbed in 1721, It was here he met Philippe Mercier, a French painter born in Berlin, whose family is portrayed in tBe rare etching re produced on Plate LX. According to the lettering, both etching and painting are by Mercier, but a tradition preserved by Mariette states that it was based on a sketch by Watteau. It is certain that the Mercier children occur in several of Watteau's drawings. With CUudeGillot we complete our illustration of the immediate entourage of Watteau? Watteau had been his pupil, and probably owed more to him in the formation of his own style than to any of his other masters. Unfortunately too little is known about Gillot's painting to make the exact relation between master and pupil at all clear. But one of the most careful students of Watteau, Robert Dohme, has suggested that the Dipart des ComMiens Italiens which is attributed to Watteau on the engraving by Louis Jacob (the only record of the lost picture) is in reality by Claude Gillot. The event recorded in the picture is the expulsion of the Italian players from their theatre in Paris in 1797 at the order of Louis XIV, who interpreted one of their plays, La Fausse Prude, as an attack on Madame 10 WATTEAU, BOUCHER, ETC. de Maintenon. The figures are unusually stiff for Watteau, but this may, of course, be the fault of the engraver. Even if Watteau be the author, it was probably Gillot who supplied him with draw ings of the event, for the costume makes it unlikely that it could have been painted from the life after the return of the Italian comedians in 1716. Gillot is of considerable interest in the develop ment of French ornament design, through the variety he introduced into the Berain traditions, both in developing a more naturalistic treatment of the animal and vegetable subsidiaries in design, and in his adoption of the figures of Italian comedy in place of the con ventional classic divinities. Watteau also worked for some time after leaving Gillot under another decorative painter, Claude Audran (the third of that name, and brother of Jean Audran), the keeper of the Luxembourg. But Audran was less of an innovator than Gillot, and we may take it that it was chiefly to the latter that Watteau owed his early familiarity with the Harlequins, Mezzetins, and other figures from Italian comedy, which not only supplied him with so much immediate material, but helped to a large extent in the formation of the exquisite but artificial atmosphere which characterises most of his paintings. Comte Caylus, who seems to have acted the part of candid friend and critic to Watteau and many artists of his circle, states that Gillot's rupture with Watteau (like Watteau's with his too successful imitator, Lancret) was due to jealousy. According to his story, Gillot, on the rupture with Watteau, entirely gave up painting and devoted himself henceforth to engraving, not deigning to appear as a rival of a painter whom he saw had outstripped him in the public favour on his own ground. But whatever the truth of the matter, the best work that Gillot has left is certainly contained in his etched plates. The series oi Bacchanals shows him as a most spirited draughtsman with a splendid sense of harmonious design, while the four plates of the Life of a Satyr offer some of the most fascinating diableries to be found in French art of the period. We reproduce two plates from each series (lxi-lxiv). From the existence of two original drawings in the British Museum for similar subjects which were never transferred to copper, we may infer that Gillot projected engraving a larger number of Bacchanals than the four known plates. Watteau's imitators, Lancret and Pater, were reproduced by many of the same engravers represented in the present series of plates. But prints after both these painters are so numerous and attractive II GREAT ENGRAVERS that it has been decided to reserve them with a view to a separate volume in a later series. Charles Natoire and Charles Hutin, who were both pupils of the painter Fran9ois Lemoyne, worked as etchers somewhat in the manner of Boucher. But Hutin shows an even lighter vein, and a charming fancy that in some sense anticipates the exquisite etchings of Fragonard. Fragonard, in company with Moreau le Jeune and other French engravers and illustrators of the second half of the eighteenth century, will be represented in a later volume of tlie present series. In the present volume the illustrators of books are merely represented in Jean Baptiste Oudry and H. F. Gravelot. Gillot has only been here illustrated by his larger and more important separate prints. But his little plates (both original etchings and engravings after his designs) to Houdart de la Motte's Fables, 1719, are among the most charming book illustrations of their kind, and their date thoroughly entitles him to the appellation of the Father of the French school of vignette. Oudry is better known for his paintings of animals, but the plate which we reproduce from the quarto edition of Lafontaine's Fables, 1755 (for which he designed all the illustrations), shows him equally at his ease in society genre, and the master of a reserved, but delicately expressive style. Gravelot is of particular interest as one of the chief links between the French and English art of the period, for he was settled in England for the greater part of the twenty years preceding 1754. Moreover he forms a fitting close to the series illustrating the French engravers and etchers of the earlier eighteenth century, as he is a typical representative of the transition from the style of Watteau to that of Moreau le Jeune, Marillier, and the other vignettists of the second half of the century. In our illustrations he is shown in his earlier phase. The two engravings by L. Truchy (another French man who was working in England about the middle of the century) are from a series published by John Bowles in 1744-45. Of eight in the British Museum, six are engraved by Truchy, and one each byThomas Major and Charles Grignion. Gravelot's original pencil drawing for the plate by Grignion (a Lady with a Fan) is in the British Museum. The British Museum also possesses several other somewhat larger studies of single figures of a similar type by both Gravelot and his pupil Grignion. They are attractive drawings in black chalk and stump heightened with white on grey paper^ but they are entirely without the piquant and incisive quality that characterises Watteau 12 ' WATTEAU, BOUCHER, ETC. Lancret, and Pater. Gravelot did good work in England in such illustrations as those to Richardson's Pamela, 1742, but they are dull in comparison with the charming plates he produced after his return to France for Marmontel's Contes Moraux, 1765. LIST OF PLATES The following abbreviations are used : B. = Baudicour ; G. = Goncourt ; R.-D. = Robert-Dumesnil, I am indebted to the kindness of Sir Claude Phillips for several of the references to pictures, also to M, Camille Doucet and M. Gaston Schefer for other details. Portrait of Antoine Watteau with M. de Julienne. Engraved by N. H. Tardieu after a painting by Watteau. G. 14. Frontispiece Antoine Watteau. Original etchings : Seven plates from the " Figures de Modes." i-vii. G. 3-9. R.-D. 1-7. Several drawings for this series are in the 'National Museum, Stock holm {reproduced, Sch'dnbrunner und Meder, Handzeichnungen aus der Albertina und anderen Sammlungen, No. 1 102 La Troupe Italienne. viii. G. I. R.-D. 8. Finished by Charles Simmoneau. After a picture in the collection of Baron Edmond de Rothschild, Paris. The same subject as etched by Boucher is illustrated on the same page. Recrue allant joindre le regiment. X. G. 2. Finished by S. H. Thomassin. The etching is attri buted to Watteau on the authority of Mariette {Abecedario). After a picture in the collection of Baron Edmond de Rothschild, who also possesses a proof of the etching before Thomassin's elaboration. Prints after Watteau, from " L'CEuvre d'Antoine Watteau . . . grave d'apres ses tableaux et desseins originaux par les soins de M. de Julienne, a Paris" (2 vols, almost entirely after pictures), and its supplement " Figures de different caracteres de paysages et d'etudes dessinees d'apres nature" (2 vols, after drawings) L — After pictures (from the first 2 vols.) ; the following engravers and subjects : Benoit Audran the younger. La Tete-a-tete. xi. G. 168 L'Enchanteur. xii. G. 130 P. A. Aveline. L'Enseigne de Ger saint. xiii. G, 95. After the picture in the Imperial Palace, Berlin La Famille. xiv. G. 134 FRAN901S Boucher. La Troupe Italienne. ix. G. 71. Placedin the volumes with the engravings after pictures, but according to its title after a finished drawing of the same subject reproduced in Watteau! s original etching (see viii) Le Printemps. xv. G. 257 L'Hiver. xvi. G. 260 La Coquette, xvii. G. 433 13 GREAT ENGRAVERS Laurent Cars. Fetes Venitiennes. xviii. G. 135. After the picture in the National Gallery of Scotland. C. N. Cochin the elder. La Mariee de Village, xix. G. 148. After the picture in the Palace oj Sans Souci, Potsdam. Louis Crepy. La Perspective, xx G. 152 L'Escarpolette. xxi. G. 273 Charles Dupuis. Le9on d' Amour. XXII. G. 144. After the picture in the Imperial Collection, Potsdam Jacques de Favannes. Les Agre- ments de I'Ete. xxiii. G. 99 FRAN901S Joullain. Les Agrements de I'Ete. XXIV. G. 100 J. P. Lebas. L'Assemblee Galante. XXV. G. 108. After the picture in the Berlin Museum La Game d' Amour, xxvi. G. 136. After the picture in the collection of Sir Julius Wernher J. E. Liotard. Le Chat M.^lade. XXVII. G. 93 Marie Jeanne Renard Dubos. L'Ete. xxviii. G. 47. Afier the picture in the collection of Mrs. Lionel Phillips Gerard Scotin. Le Lorgneur. XXIX. G. 146. After the picture hi the collection of Baron Edouard de Rothschild, Tarts Li Serenade Italienne. xxx. G. 165. After the picture in the collec tion of Alfred C. de Rothschild, Esq. N.H. Tardieu. Portrait of Watteau with M. de Julienne. G. 14. See Frontispiece Les Champs-Elysees. xxxi. G. 116. After the picture in the Wallace Collection L'Embarquement pour Cythere. 14 XXX.I. G. 128. After the pic ture in the Impel ial Palace, Berlin S. H. Thomassin. Harlequin and Columbine (voulez-vous triom- pher des belles?), xxxiii. G. 179. After the picture tn the Wallace Collection II. — After drawings (from the second two volumes) ; the follow ing engravers and subjects, with their number in the series Fr,\n90is Boucher. Portrait of Watteau. xxxiv. G. 12. B. 45. After a drawing by Watteau in the Musee Condee, Chantilly 5. Lady, full length, seen from the back. XXXV. G. 352. After a study for the picture " La Belle Polonaise," in the Hermitage, St. Petersburg 7. Lady seated, holding a fan. xxxvi. G. 355 87. Lady dancing, seen from the back; face in profile to r. xxxvii. G. 446. B. 79 96. Lady seated on the ground, seen from the back, xxxix. G. 459 Medallion of Watteau, surrounded by cupids and' the Graces, who shed tears on his tomb. xl. G. 1 3 . Frontispiece to Vol. II 163. Decorative design with a gardener and girl in a landscape. XLi. G. 540. B. 98 178. Lady seated on the ground with a young man playing the guitar. XLii. G. 555. B. 102. After a study for the picture "L' Amour Paisible" in the Im perial collection, "Potsdam 214. Lady seated, in undress, xliii. G. 591. B. ic8 238. Lady seated, nursing a child. WATTEAU, BOUCHER, ETC, xLiv. G. 615. B. 118. After a drawing in the British Museum 252. Lady's head, enveloped in a dark cloak, xlv. G. 630. After a drawing in the collection off. P. Heselnne, Esq. 303. Scene in a Garden, xlvi. G. 683 339. Gilles with a gu.tar slung round his back, xlvii. G. 721 C. N. Cochin the elder 18. Mezzetin, dancing, seen from the back, xxxviii. G. 366. From a figure in a drawing in the collection of M . Gaston Menier,ftom the Goncourt collection (reproduced Braun, 65. 467) Laurent Cars. 263. The Dressing- room. XLVIII. G. 641 Comte de Caylus. 164. Mezzetin, standing with right arm extended, and left hand on his heart, xlix. G.541 273. Portrait of a Lady. l. G. 652 Original Etchings by FRAN901S Boucher. Cupid and the Caged Dove. LI. B. 2 Le Petit Savoyard, lii. B. 5 Two Children and a Cat, asleep. Lin. B. 3 Prints after FRAN90IS Boucher La Fontaine de I'Amour. Engraved by P. A. Aveline. liv Le Depart du Courier. Engraved by J. F. Beauvarlet. lv L'Arrivee du Courier. Engraved by J. F. Beauvarlet. lvi Les Charmes de la Vie Champetre. Engraved by Jean Daulle. lvii The Family. Engraved by Gilles Demarteau. lviii Lovers in a Landscape. Engraved by Gilles Demarteau. lix Philippe Mercier. The Painter and his Family, lx Claude Gillot. Original Etchings Fete de Diane, lxi. This and the following are from a series of four (the others being "Fetes de Bacchus, et de Faune"). The original study for the "Fete de Tiane" was in the Goncourt collection (Br. 65. 467). There are two Gillot drawings of a similar subject in the British Museum Fete du Dieu Pan. lxii L'Education. lxiii. This and the following are from the " Life of a Satyr," in four plates, the other two subjects being '''¦La Naissance " and " Les Obseques " Le Mariage. lxiv Charles Natoire. L'Ele. lxv. Original etching by Natoire, finished by Benoit Audran the younger Charles Hutin. Original etchings Children playing with a goat. LXVI. B. 17, I Design for a fountain. Lxvii. B. 26,11 J. B. Oudry. La Jeune Veuve. Etched by Martin Marvie, and finished in engraving by N. D. de Beauvais. lxviii. From La- fontaine. Fables, Paris 1755 H. F. Gravelot, A lady, in full- length. Engraved by L. Truchy. LXIX A gentleman, in full-length. En graved by L. Truchy. lxx The title-page border is after the border to some prefatory verses on " L'Art et la Nature" in the first volume of Julienne's "CEuvre de Watteau " in the British Museum. 15 I. ANTOINE WATTEAU. ORIGINAL ETCHING FROM THE " FIGURES DE MODES." G. 4 Antoine Watteau. Painter, draughtsman, and etcher ; b. Valenciennes,. 1684 ; d, 1721 ; w, chiefly in Paris, ANTOINE WATTEAU. ORIGINAL ETCHINGS FROM THE « FIGURES DE MODES." II., G. 9 ; III., G. 3 ANTOINE WATTEAU. ORIGINAL ETCHINGS FROM THE " FIGURES DE MODES." IV., G. 6 ; V., G. 8 psffiip^sfjw^^^ ;;T||s^Tf?\l]ilI>j'Sfi ANTOINE WATTEAU. ORIGINAL ETCHINGS FROM THE '¦ FIGURES DE MODES." VI., G. 7 ; VII., G. 5 IX. ANTOINE WATTEAU. LA TROUPE ITALIENNE. ETCHED BY FRANCOIS BOUCHER Franfois Boucher, painter and etcher ; b. 1703 ; d. 1770 ; w. U Paris ; the most famous decorative painter of his time VIII. ANTOINE WATTEAU. IA TROUPE ITALIENNE. ORIGINAL ETCHING, FINISHED IN ENGRAVING BY CHARLES SIMONNEAU. AFTER THE PICTURE IN THE COLLEC TION OF BARON EDMOND DE ROTHSCHILD, PARIS. G.i Charles Simmonneau, line-engraver ; b. Orleans, 1645 • d. 172'! w. in Paris . X ¦" > X. ANTOINE WATTEAU. RECRUE ALLANT JOINDRE LE REGIMENT. THE ETCHING ATTRIBUTED TO WATTEAU; THE ENGRAVING FINISHED BY S. H. THOMASSIN. G. 2 Simon Henri Thomassin, line-engraver; b, 1688; d. 1740 ; vv, in Paris XL ANTOINE WATTEAU. Lk TETE-A-TETE ENGRAVED BY BENOITAUDRAN,THli YOUNGER. G. i68 B. Audran, the younger, line-engraver ; b. 1700 • d l''72 • w. 1« Paris XII. ANTOINE \^'ATTEAL-. L'ENCH.ANTEUR. ENGRAVED BY BENOIT AUDRAN, THE YOUNGER. G. 130 XIII. ANTOINE WATTEAU. L'ENSEIGNE DE GERSAINT. ENGRAVED BY P. A. AVELINE. AFTER THE PICTURE IN THE IMPERIAL PALACE, BERLIN. G. 95 Pierre Alexandre Aveline, line-engraver ; b. 1710 (or 1697 ?), i 1760 ; w. in Paris xiv. antoine watteau. la FAMILLE. ENGRA^'ED BY P. A. a\t:line. g. 134 LA KAMI LI F, Cir.,,.^- J:-!/;,:. I.-I.r. HvU.un.J. 1. 1 II'.,,:. I A.\1J] i \ ,/;',,. ¦"'/¦'¦" ''¦:. .,., If. !. • /..¦..¦»! n XV. ANTOINE WATTEAU. LE PRINTEMPS ENGRAVED BY FRANCOIS BOUCHER. G. 257 ^ai*( if "I' I ^ 4^ II I |;l \ I I Ml X\'l. ANTOINE WATTEAU. L'HIVER. ENGRAVED BY FRANCOIS BOUCHER. G. 260 W^.M„ y ^-^ j^p^ xvii. ANTOINE WATTEAU. LA COQUETTE. ENGRAVED BY FRANCOIS BOUCHER. G. 334 XVIII ANTOINE ^VATTEAU. FETES VENITIENNES. ENGRAVED BY LAURENT CARS. AFI'ER ITIE PICTURE IN THE NATIONAL GALLERY OF SCOTLAND. G. 135 Laurent Cars, line-engraver ; b. 1699 ; d. 1771 ; w. in Paris XIX. ANTOINE WATTEAU. LA MARIEE DE VILLAGE. EN GRAVED BY C. N. COCHIN, THE ELDER. AFTER THE PICTURE IN THE PALACE OF SANS SOUCI, POTSDAM. G. 148 C. N. Cochin, the elder, line-engraver; b. 1688 ; d. 1754 ; v. in Paris XX. ANTOINE WATTEAU. LA PERSPECTIVE ENGRAVED BY LOUIS CREPY. G. 152 Louis Crepy, line-engraver ; w. in Paris, ab. 1725-1750 P r,Y:';jaK^,f^f. w^ '-ofS^^H if"','. *'^*^;|f' h 4 ^. w .^.•^HRiV-Vv'*''-^-.* W^M, Jit" 4.HL.MH w^H^ H'rC;>-"*" :]>\-t :>4''i :, 1 '¦ ¦ I J [ft ¦ ¦,;. *:%¦ -:-' ^^ ;: f ¦'''?^ .:-f . "t '',1 ' J^,v^.,'; :""-^. . ¦ '-'. ¦- J\t^ 7 ^ [j^ ^ I :rw^^m;i t-^k-A: '' ^ '¦S-JiS- , 1^ ' ¦ :: ll' ..,.frii ¦ ,'¦ 1 ii'wHi ^^BI^^B^^^^^^^^^^^^^^^f ^ ^ H-'.#%*; pn linH WKKkBS^^ ^^ -'i . '^ ^^^S K. !^^^m^": ¦ ;;¦. \;;^; W^^SBSb^^^ ^ ¦''^^^ ^^T6 l*«s! ^^^p c "^^ft^ "' ^^s ^¦¦¦^.¦"^'¦^¦^.¦"'¦¦^'"¦- ¦ ¦¦-¦"7'' •-.--" ..' LA 1 1 RSKPFt rnt PRusi'KC rus / 1 1 1 //¦/ / fin ill lit II /ifiiiiiiiui/liiiiii I I / 1 f 1 ^ mill.', ,niliii,-i XXI. ANTOINE WATTEAU. L'ESCARPOLETTE ENGRAVED BY LOUIS CREPY. G. 273 J.' 4 H. ^^,'^i'i: M^^'r, / il I I- I I XXII. ANTOINE WATTEAU. LECON D'AMOUR. ENGRAVED BY CHARLES DUPUIS. AFTER THE PICTURE IN THE IMPERIAL COLLECTION, POTSDAM. G. 144 Charles Dupuis, line-engraver ; b. 1685 ; d. 1 742 ; w. in Paris, and ¦ London XXIII. ANTOINE \\ATTEAU. LES AGREMENTS DE L'ETE ENGRAVED BY JACQUES DE FAVANNES. G. 99 Jacques de Favannes, line-engraver ; b. 1716 ; d. 1770 ; W. in Paris XXIV. ANTOINE WATTEAU. LES AGREMENTS DE L'ETE- ENGRAVED BY FRANCOIS JOULLAIN. G. lOo Francois Joullain, line-engraver ; b. 1697 ; d. 1779 ; w. in Paris I, IS .\(.,lll r\ll X'l S 1)1', I KTl III. 11... .:. , ,,,,,,,,„„/,/.,•,/,/ /,,, IIVllL.lii I..: .. ,,,,./,,:, ,./'- //•',/,¦ .' l':S'riV.E ()IU.ECTATK)XES .\.i,llilir iii.ria A',7,/. ,-,„„.. .ilulllilii I IVili-l irr.J.'ill rill' iilti'i/l.i • i l.ililu, XXV. ANTOINE WATTEAU. L'ASSEMBLEE GALANTE. EN GRAVED BY J. P. LEBAS. AFTER THE PICTURE IN THE BERLIN MUSEUM. G. io8 Jacques Philippe Lebas, line-engraver ; b. 1707 ; d. 1783 ; w. in Paris ASSE-MJ-il IvE GALANTE. Gniait dl-lpirs /,- 7"/ onyinalPfJntpOJ- IPafi.i ,/,¦ "ifnif-ghandfiir - V \i H WIT \TIS CCETITS .il/iiii.. iiiri.i /hit ^usiiaii jnatjfftliiJuit4 II c ii(t aepuiuRi\^*, ^ s.v ^ .^* XXVI. ANTOINE WATTEAU. LA GAME D'AMOUR. ENGRAVED BY J. P. LEBAS. AFTER THE PICTURE IN THE COLLEC TION OF SIR JULIUS WERNHER. G. 136 XXVII. ANTOINE WATTEAU. LE CHAT MALADE. ENGRAVED BY J. E. LIOTARD. G. 93 Jean Etienne Liotard, painter, line-engraver, and etcher ; b. 1702; d. 1789; w. in Geneva, Paris, Italy, London, and Con stantinople ; most famous for his portraits in pastel ( II. \! .\i Al ,\])i': XXMII. ANTOINE WATTEAU. L'EtE. ENGRAVED BY MARIE JEANNE RENARD DUBOS. AFTER THE PICTURE IN THE COLLECTION OF MRS. LIONEL PHILLIPS. G. 47 M. J. Renard Dubos, line-engraver ; b. ab. 1700 ; pupil of C. Dupuis ; w. in Paris ; one of the few women engravers of the time XXIX. ANTOINE WATTEAU. LE LORGNEUR. ENGRAVED BY GERARD SCOTIN. AFTER THE PICTURE IN THE COLLECTION OF BARON EDOUARD DE ROTHSCHILD, PARIS. G. 146 Gerard Jean Baptiste Scotin, the younger, line-engraver : b. 1698 ; d. after 1745 ; w. in Paris, and London \) 1 i I Jv t \ i I \ I I \\:(i/'/'h--.'i(.vl.! Kiyuip'Lii Ftu.'./.m nuujn.iliiJau. XXX. ANTOINE W.VTTEAU. L.V SERENADE ITALIENNE. ENGRAVED BY GERARD SCOTIN. AFTER THE PICTURE IN THE COLLECTION OF ALFRED C. DE ROTHSCHILD, ESQ. G. 165 .A si.Ki A \i)j 1 1 \i ir \\^ I I \l IL \ C w I \i lO / / / :iir:iu.,ii;, d,/,,,:!,,,,. XXXI. ANTOINE WATTEAU. LES CHAMPS ELYSEES. EN GRAVED BY N. H. TARDIEU. AFTER THE PICTURE IN THE WALLACE COLLECTION. G. ii6 Nicolas Henri Tardieu, line-engraver ; b. 1674 ; d. 1749 ; w. in Paris XXXII. ANTOINE WATTEAU. L'EMBARQUEMENT POUR CYTHErE. engraved by N. H. tardieu. AFTER THE PICTURE IN THE IMPERIAL PALACE, BERLIN. G. 128 ¦ l^-fT - —'iitjtm'.i^v. i'^^^^ '^^H^^^^^l MmH ¦^^^H l^^^l /|- ^^ H Hi ^9i^^^^^^^l9^^^^^ftiiBI^^^^^^*4^^^^ra^H^8 I^HHIBk^^^I 0K .Il^^I^I^^^^ n^^pg j^M^fcjgfJBMpJfi^^ .^^j^WgrJi |Hh| l^^B ^H' "^^ i^^^^^^^^ ^HH^S ^^^HH fe%.%^'^pHH^^^jr^J| ¦H^Ey^ ^^^^^^B BBL.fe-™f ^^^^l^^^^sBB^^^B Ws^^M ^hHH i^J^y^^B^HHH i 'l-.MI!.\R(ill .\!l'.\l' POUR CA" rill'lRI'. , \n tA I 111 R \ t DN'SC 1 NSK) / ,.,,,,,,, .,// Ill' ¦' XXXIII. ANTOINE WATTEAU. HARLEQUIN AND COLUMBINE. ENGRA\TD BY S. H. THOMASSIN. AFTER THE PICTURE IN THE WALLACE COLLECTION. G. 179 > i^Hd^^m-y" lufnddr eft rJ i-fvt.' h ^ilih.l.r.i.vlini ' ( nil .Cini-.JI.i i/i-iij/ifl./.ii I 1/ /, ••' ^ Jni 1.1 r.'nji .- .fa^ti.'fit I"" - '/*.../ '" .— .. "I.-." XXXIV. ANTOINE WATTEAU. PORTRAIT OF HIMSELF ETCHED BY FRANCOIS BOUCHER, AFTER A DRAWING IN THE MUSEE CONDE, CHANTILLY. G. 12 t hiL- ¦uu bv.,- a&3 IVi If on I., li'i,'-. am ahiid.'.y V, irnd d/u (iviix (iiL'nLi- H ' '•iniauy III <¦ iiifi • 1)1 nil /It la; ,1,1 1 // rUi- k-IL- 1 Lt n ¦ L III tUOl llYl ¦ •oil. ,:¦ Ir III.,- ¦ ''I ¦'"'"'" ^ \ XXXV. ANTOINE WATTEAU. LADY, FULL LENGTH, SEEN FROM THE BACK. ETCHED BY FRANCOIS BOUCHER. AFTER A STUDY FOR THE PICTURE OF "LA BELLE POLONAISE," IN THE HERMITAGE, ST. PETERSBURG. G. 352 XXXVI. ANTOINE WATTEAU. LADY SEATED, HOLDING A FAN. ETCHED BY FRANCOIS BOUCHER. G. 355 XXXVIII. ANTOINE WATTEAU. MEZZETIN DANCING, SEEN FROM THE BACK. ETCHED BY C. N. COCHIN, THE ELDER. FROM A FIGURE IN A DRAWING IN THE COLLECTION OF M. GASTON MENIER. G. 366 XXXVII. ANTOINE WATTEAU. LADY DANCING, SEEN FROM THE BACK, ETCHED BY FRANCOIS BOUCHER, G, 4^6 > >XX X.XXIX. ANTOINE WATTEAU. LADY SEATED ON THE GROUND, SEEN FROM THE BACK, ETCHED BY FRANCOIS BOUCHER, G, 459 XL. FRANCOIS BOUCHER. MEDALLION OF WATTEAU, SURROUNDED BY CUPIDS AND THE GRACES, WHO SHED TEARS ON HIS TOMB. ORIGINAL ETCHING. FRONTISPIECE TO VOLUME II OF THE " FIGURES DE DIFFERENTS CARACTERES." G. 13 XLI. ANTOINE WATTEAU. DECORATIVE DESIGN WITH A G.VRDENER AND GIRL IN A LANDSCAPE. ETCHED BY FRANCOIS BOUCHER. G. 540 XLII, ANTOINE WATTEAU. LADY SEATED ON THE GROUND WITH A YOUNG MAN PLAYING THE GUITAR, ETCHED BY FRANCOIS BOUCHER. G. 555 XLIII, ANTOINE WATTEAU. LADY SEATED, IN UNDRESS. ETCHED BY FRANCOIS BOUCHER, G, 591