V u I give thefe Booh for the founding of a. College in this Colony" s^ES^^SS^S Bought with the income of the Ann S. Farnam Fund GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND JEAN MICHEL MOB.EAU The Kiss. Engraved by Nicolas Delaunay An illustration to " Julie," Jrom Rousseau's Works (1774-83). The original drawing is in the collection ofthe Baronne James de Rothschild, Paris BOOKS OF REFERENCE Huber, M., Rost, C. C. H., and Martini, C. G. Manuel des Curieux et des Amateurs d'Art. Zurich, 1 797-1 808. Vol. VIII (Ecole de France, seconde partie), 1804 Robert-Dumesnil, A. P. F. Le Peintre-grayeur Francais. Paris 183 5-71 Baudicour, P. de. Le Peintre-graveur Francais continue. Paris 1859, 1861 Duplessis, G. La Gravure en France. Paris 1 861 Goncourt, E, and J. de. Les Vignettistes (Gravelot, Cochin, Eisen, Moreau). Paris 1868 L'Art du l8e Siecle. Paris 1873-74 (3° ed. 1880-82) Cohen, Henri. Guide de 1' Amateur de Livres a Gravures. Paris 1870 (6™e edition, par Seymour de Ricci, 1912) Bocher, E. Les Gravures Francaises du i8e Siecle. Paris 1875-82 (P. A. Baudouin, 1875 ; N. Lavreince, 1875 ; J. B. S. Chardin, 1876 ; J. M. Moreau, 1882 ; A. de St. Aubin, 1882) Boissieu, J. J. de. Catalogue. Paris 1878 Hedou, J. Jean Baptiste Le Prince. Paris 1878 Portalis, R., and Beraldi, H. Les Graveurs du l8e Siecle. Paris 1880-82 Bourcard, G. Les Estampes du i8e Siecle. Ecole Francaise. Paris 1885. Dessins, Gouaches, Estampes du i8e Siecle. Paris 1893 Portalis, R. Honore Fragonard. Sa Vie et son CEuvre. Paris 1888 Fenaille, M. P. L. Debucourt. Paris 1879 Lewine, J. Bibliography of Eighteenth Century Art and Illustrated Books. London 1898 Dilke (Lady). French Engravers of the Eighteenth Century. London 1902 Mauclair, Camille. J. B. Greuze. Sa Vie, son CEuvre, son Epoque. Paris 1905 Nevill, Ralph. French Prints ofthe Eighteenth Century. London 1908 Delteil, Loys. Manuel de l'Amateur d'Estampes du l8e Siecle. Paris 1910 Lawrence, H. W., and Dighton, B. L. French Line-engravers of the late Eighteenth Century. London 1910 FRAGONARD, MOREAU LE JEUNE, ETC. WE have already devoted a volume of this series to the French etchers and engravers of the earlier part ofthe eighteenth century. The development of French engraving from the school of Watteau to Moreau le Jeune and the illustrators ofthe latter part of the century, shows a natural progress in technical methods, but striking differences in artistic aim. By Watteau, the spirit of contemporary life is enhanced by the beauty of imaginary surroundings ; the costumes of society are transferred to the realms of the shepherds and shepherdesses of the golden age ; and figures drawn direct from life or the stage are invested with an idyllic charm. With most of the French draughtsmen and engravers of the succeeding generation, the charm still remains, but the idyll is gone. There is still the romance, but it has lost its purer outdoor savour ; it is the romance, and often enough the intrigue, ofthe daily life of a decadent aristocracy, breathing the closer air of the boudoir and the salon. The fascinating affectations and incongruities of Watteau and his prose give way to a realism which sometimes only escapes the sordid by dint ofthe inevitable refinement of the French genius. Exquisitely refined realism in the representation of contemporary society is undoubtedly the central characteristic of the artist illustrators of the reign of Louis XVI, but our volume opens with the most brilliant exception, Jean Honor6 Fragonard. A pupil of Boucher, he showed an equal verve and brilliance in composition, while escaping the fulsomeness of his master's style. His few original etchings, which are comparatively little known, show, in a remarkable degree, his exquisite sense for light and line. His manner of etching evidently derives as much from Tiepolo as from Boucher, and there is the same rococo love for white lights which characterises the Italian painter. The inspiration derived from his early studies in Italy is aptly exemplified by fourteen out of the two dozen etchings described by Baudicour, which freely reproduce paintings by Tintoretto, Annibale Carracci, and Sebastiano Ricci. Of his ten original etchings, the four Reliefs with Bacchanals are undoubtedly the most individual, and the graceful fancy of their design is rendered with a light touch and joyous movement that is entirely fascinating (see ii and in). Even more powerful, and thoroughly Tiepolesque in its brilliant effect of light, is the unknown subject, called Les Traitants, repro- 5 GREAT ENGRAVERS duced on Plate i. It looks as if it might be a scene with Sancho Panza from " Don Quixote," but I cannot find that it corresponds with any definite incident. I might mention in this connexion that Fragonard projected a series of illustrations to " Don Quixote," but they were never published. Baron Vivant Denon, who possessed nineteen of his original drawings to " Don Quixote," etched some on a smaller scale. Seven of the drawings are in the collection of Madame Groult of Paris, and two others in the British Museum. Most ofthe prints illustrated in the present volume are reproduc tions by the most skilful engravers of the time, some of them original artists themselves, of designs by painters or draughtsmen such as Fragonard, Greuze, Baudouin and Lavreince. Those after Fragonard and Greuze seem for the most part based on oil paintings, but a large proportion of the rest were engraved from drawings — either in water- colour, gouache, or chalk — expressly designed for reproduction as engravings. Thus Fragonard's Les Hasards heureux de TEscarpo- lette (viii) reproduces the picture now in the collection of Baron Edmond de Rothschild, in Paris. The same collector possesses several of Moreau's original drawings for the " Monument du Costume," while Moreau's original designs for the Kiss (frontispiece) and other illustrations of Rousseau's works now belong to theBaronne James de Rothschild (Paris). The private collections of Paris are the richest in these treasures, but several of the finest examples are in England, e.g. Lavreince's gouaches for U AssembUe au Concert (xl) and U AssembUe au Salon (xli) in the possession of Mr. Walter Burns, and one or two more of Moreau's drawings for the " Monument du Costume," belonging to Lord Carnarvon. The most famous and typical of all the line-engravings of the period is undoubtedly Nicolas Delaunay's Les Hasards heureux de P Escarpolette, after Fragonard, to which I have already referred. Nicolas Delaunay was not an original artist, but certainly the most accomplished ofthe line-engravers of society pieces, and this example of his collaboration with Fragonard well deserves its description by Portalis and Beraldi as " le fin d'u fin, la quintessence, le dernier mot de l'art galant de l'epoque." Happily the print is even more typical ofthe art of the period than of Fragonard. Like Greuze, Fragonard was as much attracted by the simpler life of the peasant as by the gallantries of society, and UHeureuse Fkonditi (vi), Dites done, s'il vous plait (vn), and three others of the same series, also engraved by Nicolas Delaunay, are among his most attractive works. The original plates of this series 6 FRAGONARD, MOREAU LE JEUNE, ETC. are in existence, and a considerable number of modern impressions have been issued, so that collectors should be wary. But even early impressions of this set are incomparably less valuable than UEscarpolette. In their renderings of peasant life, Greuze and Fragonard may both owe something to Chardin, who is represented here in an engraving by C. N. Cochin, the elder (xxxm). Greuze's La Maman, engraved by J. F. Beauvarlet (xxxi) and his Girl seated with a basket, engraved by Madame Beauvarlet (one of the few women engravers ofthe period) (xxxii), have a similar charm, though they are not among the best prints after that master. Robert Gaillard and Jean Massard are more important as interpreters of Greuze, and La Volup- tueuse (xxvii), La Cruche Casse'e (xxvm), and La Vertu Chancelante (xxx), are three of their finest reproductions. But to collectors of French prints in general, Greuze is not a name to conjure with. He is infinitely less popular in the market than those unflagging devotees of the salon and the boudoir, Baudouin and Lavreince. The objects of their devotion may render their works insipid to many lovers of great art, but there are few who will not, if they seek, find something in their prints to interest — if not the human element, at least some charming interior, some piece of decoration or furniture, subsidiaries to which these artists lent so much loving care. Baudouin was a true follower of his master, Boucher. The same love of the flesh and an almost equal fulsomeness in its expression are allied with a suggestiveness that often totters on the verge of indiscretion, without sacrificing the external delicacy that characterises French amatory art of the period. Lavreince was only a stranger in France — he was a Swede, whose name is properly spelt Lafrensen — but few natives reflected the spirit of contemporary Parisian society with more evident truth, or more piquant charm. Most of his work at Paris, like that of Baudouin, was contained in the gouaches, reproduced so wonderfully by the engravers. Nicolas Delaunay is again responsible for several ofthe finest prints after these masters, Le Billet T>oux (xxxviii) and QAen dit I'Abbi? (xxxix) after Lavreince, and Le Carquois epuisS (xxxvi), after Baudouin, being among the most popular prints of the school. Even more valuable are fine impressions of Le Coucher de la AMariee (xxxiv), after Baudouin, etched by J. M. Moreau, and finished in engraving by J. B. Simonet. Nearly all the " line-engravings " of the period were largely bitten with acid. More particularly since the beginning of the eighteenth century it had become the regular practice of the line-engraver to 7 GREAT ENGRAVERS commence his plate with a light preliminary etching, elaborating the subject, and adding all the brilliant finish with the graver. The character of the print in general would be entirely in the formal manner of the pure line-engraver, so that one is justified in calling such mixed prints line-engravings, etching being used in the pre liminary stages less for its real artistic qualities than for the facility which it offered for sketching in the main elements of the design. In general, the engraver will do his own preliminary etching. At other times, the author of the design is responsible for the etching, while a third possibility is shown in Le Coucher de la AMariee, where draughtsman, etcher, and engraver are distinct. Jean Michel Moreau, the etcher of Le Coucher de la Marine, was himself one of the finest original draughtsmen of contemporary society. Among the most ambitious prints engraved as well as designed by Moreau, are the pendants, Le Festin 'Royal and Le Bal Masqui (xii), representing festivities celebrating the birth of the Dauphin in 1782. Modern prints can still be obtained from the Chalcographie du Louvre, which is in possession of the original copper plates, but early impressions are, of course, of considerable value. Moreau's most interesting work is the series of engravings after his drawings, generally called " Le Monument du Costume," its title in the Neuwied edition of 1789, issued with text by Restif de la Bretonne. The prints had appeared earlier under the title, Suite d' Estampes pour servir a T Histoire des AMceurs et du Costume des Fran cais dans le XVIII' siecle, in two sets, 1 776 (1777) and 1783. They formed a supplement to a series of twelve prints issued under a similar title in 1774 (and 1775) after designs by Sigmund Freudenberger, a Swiss artist settled in Paris. Two plates from Freudenberger's series, La Promenade du Matin, engraved by C. L. Ling6e (xlviii), and La Fromenade du Soir, engraved by F. R. Ingouf (xlix), show a charming talent, but serve to throw into greater relief the real genius of Moreau's draughtsmanship. The initials, I.H.E., which figure on the plates of the Freudenberger series are those of Jean Henri Eberts, a Swiss banker, who helped to set the project on foot, and who, from the inscription I. H.E. inv(enit), no doubt made direct suggestions to the artist as to the treatment of the subjects. His participation does not, however, extend to the plates by Moreau, whose greater genius and originality would need no external inspirer. Proofs ofthe preliminary etched states of each of the series are rare and valuable, and, in the case of the Moreau sets, are now almost impossible to find. We reproduce one from the British Museum (Les FRAGONARD, MOREAU LE JEUNE, ETC. Frfcaut'ions, xvi), but here, as in so many fields of collecting, Baron Edmond de Rothschild, of Paris, has by far the greatest treasures. Artistically, however, the finished state, as elaborated with the graver, is the more satisfactory, and in good state scarcely less valuable. I refer to some of the general varieties of state touching the three series, as some example to the collector ofthe sort of difference that he should look for in these as well as other prints of the period. To begin with, prints ofthe Freudenberger series are found as : I. Preliminary etchings ; before the frame. II. Proofs before letters, at various stages of the work, with or without the frame. III. Lettered impressions, but the cartouche which holds title still white. IV. Ditto, with cartouche shaded. V. Number added. The two sets by Moreau are known in the following states : I. Preliminary etchings. II. Finished engraving, before letters, but with the date. III. Lettered with the title and artists' names, and A.P.D.R. (i.e. avec privilege du roi). IV. Ditto, with numbers added. V. A.P.D.R. and numbers erased (as published in " Le Monument du Costume," 1789). Some of the engravers of Moreau's series cannot be said to be among the foremost engravers ofthe period, but it is remarkable what a high level of accomplishment they all show. Robert Delaunay shows him self almost the equal of his elder brother, Nicolas, in Les A^dieux (xiv), Baquoy's Cest un Fits, Monsieur (xix), his etching of Les petits Parains, completed by J. B. Patas (xxv), Martini's four plates, notably Les Precautions (xvi) and La lAame du Palais de la Reine (xxiv) are equally attractive ; while two of Helman's four subjects, Le Souper Fin (xxiii) and N'ayez pas peur, ma bonne amie (xvin) are almost incomparable for their fine engraving and perfect interpretation. Both Freudenberger's and Moreau's series were originally issued with some pages of explanatory text, but complete series with the original title pages and text are so exceedingly rare, that the prints are naturally treated as separate plates, and not in any sense book illustrations. And in this case it was of course the book which illustrated the plates, not the plates which illustrated the book. But practically all the designers and engravers of the period, to whom we have referred in relation to prints separately issued, were also responsible for a large number of book illustrations. We must confess that woodcut is the process fitted better than any other for printing in conjunction with type, and what is more, combining in a true artistic relation with type to the making of a beautiful book. 9 GREAT ENGRAVERS But this ideal aside, engraving has never been used with such aptness and such perfect accomplishment in book illustration as by the French engravers ofthe second half of the eighteenth century. For the perfect realisation of the artist's end, the conventional method of the line-engraving of the period is of importance. The subject was nearly always lightly etched on the plate, and the engraving pure and simple was the elaboration that followed. And some of the best results would naturally be obtained when a designer was also an etcher, and made himself responsible for the preliminary etching. Moreau, who was also an etcher and engraver (see e.g. the charming etched border, used on the title-page of this volume, and Le Bal AMasque, xn), was perhaps the greatest of all the illustrators of the period, and his plates to the quarto edition of Rousseau's Works (i 774—1783) are among the most attractive specimens of his art. When his engraver was Noel Le Mire or Nicolas Delaunay {e.g. the illustration to "Julie"reproduced in our frontispiece), perfect inter pretation of his charming draughtsmanship was the result. It is of course extremely rare to find this edition of Rousseau with its engravings complete, and the same must be said of all the best illustrated books of the period, which are too often found mutilated of their plates. The same series of designs were engraved much less well, and on a smaller scale, in the 8vo editions of Rousseau (e.g. Poincot, Paris, 38 vols., 1788-93 ; and Didot, Paris, 1801, 20 vols.). Of the engravers who took part in the quarto edition of Rousseau besides Delaunay and Le Mire, we would particularly mention P. P. ChofFard and Augustin de St. Aubin. The former was the most dainty etcher and engraver of his day of feurons and culs-de-lampe, head and tail-pieces, with their medley of curtains and cupids, vases, rose- wreaths and the rest, with which he decorated such famous books as La Fontaine, "Contes et Nouvelles en Vers" (1 762), and Ovid," Meta morphoses " (1767-71). Augustin de St. Aubin was a most prolific engraver and designer of illustrations and single plates of all descrip tions, but his special forte was the frontispiece portraits, which he executed with a point as delicate as that of Etienne Ficquet, the acknowledged master of miniature engraving. C. N. Cochin, the younger, is another draughtsman and engraver who is particularly noteworthy for the small profile portraits which for the most part he left to others to engrave. Ficquet's portrait of La Fontaine (lvii) was used as frontispiece to the finest of all the illustrated editions of the "Contes et Nouvelles en Vers," that in 2 vols., 8vo, of 1762, to which we have already referred 10 FRAGONARD, MOREAU LE JEUNE, ETC. in relation to Choffard. This edition and Dorat's "Les Baisers" (8vo, 1770) contain Charles Eisen's most famous designs, and prove him an impertinent Boucher, dallying, like so many of theFrench illustra tors of the time, on the borderland of delicacy, but a graceful artist withal. Joseph de Longueil, the engraver of the plate which we reproduce from "Les Baisers" (xlvi), was one ofthe finest craftsmen of the period, and also figured with Le Mire, Baquoy, Choffard, and others in the "Contes et Nouvelles en Vers" of the Fermiers GMraux, as the edition of 1762 is called. Nor could Choffard have surpassed in accomplishment the exquisite tail-pieces after Eisen, of which one engraved by Nicolas Delaunay is placed in our text (p. 15). Of Gravelot, one of the earlier generation of French illustrators (he was born in 1699), we have already spoken in the volume on Watteau (Great Engravers, 191 1). But in that place we only repro duced two costume studies engraved after his drawings by L. Truchy, single figures somewhat closely following the tradition of Watteau. These and a large proportion of his earlier book illustrations were produced in England during the two decades preceding 1 754> his original engravings to Richardson's "Pamela" (1742) being perhaps the most interesting, but none of his English illustrations equals the charming series of designs done after his return to Paris for Marmontel's " Contes Moraux " (1 765, 3 vols., 8vo), and engraved by Longueil, Le Mire, Pasquier and others (see lv & lvi). An even more valuable illustrated edition for which Gravelot supplied the greater part of the designs (in company with Boucher, Cochin and Eisen) is the " Decameron " of 1757 (5 vols, in 8vo), in which Aliamet, Baquoy, Flipart, Le Mire, Moitte, Lempereur, and Augustin de St. Aubin were the chief engravers. Nearly all the finest French book illustration falls between this date and the Revolution. At that crisis in the reaction against the outward show ofthe old aristocracy, even the best of the illustrators, Moreau himself, yielded his soul to the new classicism led by Jacques Louis David, and found himself the more than commonplace illus trator of J. P. Rabaut Saint-Etienne's "Precis Historique de la Revolu tion Francaise " (1792). On this field of stern action Moreau was as nothing compared to Jean Duplessi-Bertaux, who in his large series of small etchings illustrating the Revolution revived some of the spirit of Callot. The last three names represented in our plates illustrate two entirely different phases of French art. Le Prince, like most of the illustrators we have mentioned, was a draughtsman of contemporary 11 GREAT ENGRAVERS life whose subjects were often reproduced in line (e.g. Le Marchand de Lunettes, engraved by Helman, Lix), but he is of chief interest for his original etchings in aquatint. For a description of the process, of which Le Prince claimed the discovery, I would here only refer to the volume on Goya (Great Engravers, 1911) one of the greatest masters of the art. Le Prince spent several years in Russia between 1758 and 1763, and the example reproduced, Le Berceau (lx), like so many of his etchings and aquatints, is probably based on sketches of Russian peasant life made on this visit. But to the collector of French prints in general, who looks rather for the Parisian interior of the period, the work of Janinet and Debucourt, who both followed Le Prince in the use of aquatint, is a far greater attraction. Janinet was not an artist of great originality, but he is specially remarkable for his colour prints, some of them, such as his larger portrait of Marie Antoinette, being a most accomplished technical production (though trivial enough in style), and extremely valuable in fine impressions. He combined aquatint freely with roulette work, obtaining something of the more varied quality of Bonnet's crayon and pastel engravings. Debucourt on the other hand kept much more strictly to pure aquatint, and his surfaces of colour gain wonderfully thereby in the transparent quality of their tone. He was as sound a master of colour- printing as Janinet, and a far more original draughtsman. He is one of the most distinguished masters of Society genre, and those two famous and most valuable prints, La Promenade de la Galerie du Palais Royal, 1787 (lxi), and La Promenade Publique, 1792 (lxii), are ofthe greatest interest for their spirited representation of manners in Paris at the time of the Revolution. Jean Jacques de Boissieu of Lyons is stolid and provincial in com parison with the brilliant Parisian company that have preceded. But for all that his etched work is of real worth, and shows a powerful sense of expressing chiaroscuro by means of etching, helped out in certain examples, such as the Cellarers (1790) and the Two Hermits (1797), with his somewhat unique method of crossing his more heavily etched lines with fine roulette work. He was one of the etchers of the period who still kept largely to landscape, though even his original work in this field is imitative, and reminiscent of Ruysdael, Du Jardin and Claude, after each of whom he also made some reproductive plates. It remained for Theodore Rousseau, Corot, and the painters of Barbizon to restore real life to the landscape etching which is now one of the historical glories of the nineteenth century. 12 LIST OF PLATES Jean Honore Fraconard Unknown Subject. Les Traitants. i. Original etching Relief with a Satyr Family dancing. ii. Original etching Relief with a Satyr Family. The Infants' Introduction, in. Ori ginal etching Le Contrat. Engraved by Maurice Blot, iv La Bonne Mere. Engraved by Nicolas Delaunay. v L'Heureuse Fecondite. Engraved by Nicolas Delaunay. vi Dites done, s'il vous plait. En graved by Nicolas Delaunay. vn Les Hasards heureux de L'Escar- polette. Engraved by Nicolas Delaunay. vm. After the paint ing in the collection of Baron Edmond de Rothschild, Paris. There is another version in the Wallace collection L'Inspiration favorable. Engraved by Louis Michel Halbou. ix The Embrace. Engraved by Gabriel Marchand. x Le Serment d' Amour. Engraved by Jean Mathieu. xi Jean Michel Moreau. The Kiss. Engraved by Nicolas Delaunay. Frontispiece. An illustration to " Julie " from Rousseau's works (1774-83). The original drawing is in the collection of the Baronne James de Rothschild, Paris Le Bal Masque, xn La Petite Loge. Engraved by Jean BaptistePatas. xm. This, and the following twelve plates are from " Le Monument du Costume." The original drawing is in the collection ofthe Baronne Alice de Rothschild. There is another study in the Olry-Roederer collection Les Adieux. Engraved by Robert Delaunay. xiv. The original drawing is in the collection of the Baronne Alice de Rothschild La Sortie de l'Opera. Engraved by Georges Malbeste. xv Les Precautions. Engraved by Pietro Antonio Martini. Unfinished proof, xvi. The original draw ing is in the collection of Baron Edmond de Rothschild Oui ou Non. Engraved by N. Thomas. xvn. The original drawing is in the collection of Baron Edmond de Rothschild. There is another study in the Olry-Roederer collection N'ayez pas peur, ma bonne amie. Engraved by Isidore Stanislas Hel man. xvin. The original draw ing is in the collection of Lord Carnarvon C'est un Fils, Monsieur. Engraved by Jean Charles Baquay. xix. The original drawing is in the collection of Baron Edmond de Rothschild La Petite Toilette. Engraved by Pietro Antonio Martini, xx. The original drawing is in the collec tion of Baron Edmond de Roths child La Grande Toilette. Engraved by Antoine Louis Romanet. xxi La Partie de Wisch. Engraved by Jean Dambrun. xxii. The ori ginal drawing is in the collection of Baron Edmond de Rothschild Le Souper Fin. Engraved by Isidore Stanislas Helman. xxiii. The original drawing is in the collection ofthe Baronne Alice de Rothschild La Dame du Palais de la Reine. Engraved by Pietro Antonio GREAT ENGRAVERS Martini. xxiv. The original drawing is in the collection of Baron Edmond de Rothschild Les petits Parains. Etched by Jean Charles Baquoy, and finished in engraving by J. B. Patas. xxv. The original drawing is in the collection of Baron Edmond de Rothschild Jean Baptiste Greuze The Dead Bird. Engraved by Jean Jacques Fligart. xxvi La Voluptueuse. Engraved by Robert Gaillard. xxvn La Cruche Cassee. Engraved by Jean Massard (1773). xxvm Le tendre Desir. Engraved by Jean Massard. xxix La Vertu Chancelante. Engraved by Jean Massard. xxx La Maman. Engraved by Jacques Firmin Beauvarlet. xxxi Girl seated with a basket. Etched by Francoise Beauvarlet (Deschamps) and finished in engraving by Jacques Firmin Beauvarlet. xxxn Jean Baptiste Simeon Chardin. L'Ecureuse. Engraved by Charles Nicolas Cochin, xxxiii Pierre Antoine Baudouin Le Coucher de la Mariee. Etched by Jean Michel Moreau, and . finished in engraving by Jean Baptiste Simonet. xxxiv Le Lever. Engraved by Jean Massard. xxxv Le Carquois epuise. Engraved by Nicolas Delaunay. xxxvi L'Enlevement. Nocturne. Engraved by Nicolas Ponce, xxxvii Nicolas Lavreince Le Billet Doux. Engraved by Nicolas Delaunay. xxxvm Qu'en dit l'Abbe . Engraved by Nicolas Delaunay. xxxix H L'Assemblee au Concert. Engraved by Nicolas Barthelemi Francois Dequevauviller. xl. The original drawings of this and the following are in the collection of Mr. Walter Burns L'Assemblee au Salon. Engraved by N. B. F. Dequevauviller. xli La Soubrette Confidante. En graved by Geraud Vidal. xlii Le Dejeuner Anglais. Engraved by Geraud Vidal. xliii L'Aveu Difficile. Aquatint by Fran cois Janinet. xliv Charles Eisen. Le Concert Mechanique. Engraved by Joseph de Longueil. xlv The Betrothal. Engraved by Joseph de Longueil. xlvi. Illustration to C. J. Dorat, "Les Baisers," The Hague, 1770 Le Jour. Engraved by Jean Bap tiste Patas. xlvii Sigmund Freudenberger La Promenade du Matin. En graved by Charles Louis Lingee. xlviii. This and the following are from the Suite d'Estampes pour servir a P Histoire des Maeurs et du Costume des Francois dans le XFIII" Siecle (Paris 1775) to which Moreau's two sets formed the supplement La Promenade du Soir. Engraved by Francois Robert Ingouf. xlix. The original drawing is in the collection of the Baronne Guil- laume de Rothschild Augustin de St. Aubin Portrait of Adrienne Sophie, Mar quise de. . Original engraving, l Au moins soyez discret. Original engraving, li Comptez sur mes serments. This plate and the preceding represent St. Aubin and his wife. Original engraving, lii FRAGONARD, MOREAU LE JEUNE, ETC. Le Concert. Engraved by Antoine Jean Ba.tiste Le Prince Jean Duclos. liii Le Bal Pare. Engraved by Antoine Jean Duclos. liv Hubert Francois Gravelot Le Bon Mari. Engraved by Noel Le Mire. lv. Illustration to Marmontel's "Contes Mor.iux." (Paris 1765) L'Ecole des Peres. Engraved by Jacques Jean P.isquier. Illus tration to Marmontel's " Contes Moraux " (Paris 1765). lvi Etienne Ficquet. Portrait of La Fontaine, after Rigaud. lvii Charles Joseph Flipart The Boudoir, lviii. Original en graving Le Marchand de Lunettes. Engraved by Isidore Stanislas Helman. lix Le Berceau. Hedou, 126. lx. Original aquatint Philibert Louis Debucourt La Promenade de la Galerie du Palais Royal, 1787. lxi. Ori ginal aquatint La Promenade Publique, 1792. lxii. Original Aquatint. From a fine impression in the collection of Mr. Basil Dighton Les Visites. lxiii. Original Aquatint Jean Jacques de Boisjieu The Schoolmaster, lxiv. Original etching The title-page border is from the border to De Laujon, Les A propos de Societe, Paris 1776 (original etching by J. M. Moreau) The tail-piece is from Dorat, Les Baisers, The Hague, 1770 (engraved by Nicolas Delaunay, after Charles Eisen) 15 I JEAN HONORE FRAGONARD. UNKNOWN SUBJECT (" LES TRAITANTS "). ORIGINAL ETCHING. B. i Painter, draughtsman, and etcher ; b. 1732 ; d. 1806 ; w. at Grasse, and Paris < F I II. JEAN HONORE FRAGONARD. RELIEF WITH A SATYR FAMILY DANCING. ORIGINAL ETCHING III. JEAN HONORE FRAGONARD. RELIEFWITHA SATYR FAMILY: THE INFANTS' INTRODUCTION. ORIGINAL ETCHING ^':V#^;vyvr A.- ¦••¦•¦ ,:^A^W'^ A- •&¦$¦„ pff ;!_¦¦•¦¦;¦ ^v.;A^#Ai 1, A IS* i &3E ( -"A/U , > iy I ^^WiNy'-^isfi^AA^A^ $¦:.,.- .\- A, A0A^^P .}AM IV. JEAN HONORE FRAGONARD. LE CONTRAT. ENGRAVED BY MAURICE BLOT Maurice Blot, line-engraver ; b. 1753 ; d. 1818 ; w. in Paris V. JEAN HONORE FRAGONARD. LA BONNE MERE. ENGRAVED BY NICOLAS DELAUNAY Nicolas Delaunay, line-engraver ; b. 1739 ; d. 1792 ; w. in Paris VI. JEAN HONORE FRAGONARD. L'HEUREUSE FECONDITE ENGRAVED BY NICOLAS DELAUNAY ne I IU" l // , . '!• .ce i\i n 1 1: ./-.-, VII. JEAN HONORE FRAGONARD. DITES DONC S'lL VOUS PLAIT. ENGRAVED BY NICOLAS DELAUNAY VIII. JEAN HONORE FRAGONARD. LES HASARDS HEUREUX DE L'ESCARPOLETTE. ENGRAVED BY NICOLAS DELAUNAY After the painting in the collection of Baron Edmond de Rothschild, Paris. There is another version in the Wallace collection IX. JEAN HONORE FRAGONARD. L'INSPIRATION FAVORABLE. ENGRAVED BY LOUIS MICHEL HALBOU L. M. Halbou, line-engraver ; b. 1730 ; d. 1810 ? w. in Paris X. JEAN HONORE FRAGONARD. THE EMBRACE. ENGRAVED BY GABRIEL MARCHAND G. Marchand, line-engraver ; b. 1755 ? w. in Paris *«At._&As - _ . ¦•..-_-•.¦ xtotij XI. JEAN HONORE FRAGONARD. LE SERMENT D'AMOUR. EN GRAVED BY JEAN MATHIEU Jean Mathieu, line-engraver ; b. 1749 ; d. 1815 ; w, in Fontainebleau, and Paris XII. JEAN MICHEL MOREAU. LE BAL MASQUE. ORIGINAL ENGRAVINGJ. M. Moreau, draughtsman and line-engraver ; b. 1741 ; d. 18 14 ; w. in Paris ; generally called Moreau le jeune in distinction from his brother, the painter, Louis Gabriel Moreau y : r- > !''' "'"''tf^ySL pMiAj :P-^ . ^i :.;./„„-,¦„, ,ys-i. „ I,,',. „„,„, y-i-i.P --A^i : -'//„„.,,.„„„,, _/., XIII. JEAN MICHEL MOREAU. LA PETITE LOGE. ENGRAVED BY JEAN BAPTISTE PATAS. FROM THE " MONUMENT DU COSTUME " The original drawing is in the collection of the Baronne Alice de Rothschild, Paris. There is another study in the Olry-Roederer collection J. B. Patas, line-engraver ; b. 1748 ? d. 1817 ? w. in Paris Al /JCl tlC- AAOCJC XIV. JEAN MICHEL MOREAU. LES ADIEUX. ENGRAVED BY ROBERT DELAUNAY. FROM THE "MONUMENT DU COSTUME " The original drawing is in the collection of the Baronne Alice de RothschildR. Delaunay, line-engraver; b. 1754; d. 1814; w. in Paris ) / tf 'rt$C& acAiciAX' ) XV. JEAN MICHEL MOREAU. LA SORTIE DE L'OPERA EN GRAVED BY GEORGES MALBESTE. FROM THE " MONU MENT DU COSTUME " G. Malbeste, line-engraver ; b. 1754 ; d. 1843 ; w. in Paris f r f} a e J o/l i c dt- A ( pera XVI. JEAN MICHEL MOREAU. LES PRECAUTIONS. ENGRAVED BY PIETRO ANTONIO MARTINI. UNFINISHED PROOF. FROM THE " MONUMENT DU COSTUME " The original drawing is in the collection of Baron Edmond de Rothschild, Paris P. A. Martini, line-engraver ; b. 1739 ; d. 1797 ; w. in Parma, Paris, and London '- XVII. JEAN MICHEL MOREAU. OUI OU NON. ENGRAVED BY N. THOMAS. FROM THE " MONUMENT DU COSTUME " The original drawing is in the collection of Baron Edmond de Rothschild. There is another study in the Olry-Roederer collection N. Thomas, line-engraver ; b. 1750 ? d. 181 3 ? w, in Paris XVIII. JEAN MICHEL MOREAU. N'AYEZ PAS PEUR, MA BONNE AMIE. ENGRAVED BY ISIDORE STANISLAS HELMAN. FROM THE "MONUMENT DU COSTUME " The original drawing is in the collection of Lord Carnarvon I. S. Helman, line-engraver; b. 1743; d, 1806; w. in Lille, and Paris V ti\ eipeid peur, ma bonne ( ( nue XIX. JEAN MICHEL MOREAU. C'EST UN FILS, MONSIEUR. ENGRAVED BY JEAN CHARLES BAQUOY. FROM THE " MONUMENT DU COSTUME " The original drawing is in the collection of Baron Edmond de Rothschild J. C. Baquoy, line-engraver ; b. 1721 ; d. 1777 ; w. in Paris 'MJWa!A^~WM¥aTA • C es/ un (' 'i I, i, (2. i ( A/t.prup XX. JEAN MICHEL MOREAU. LA PETITE TOILETTE. ENGRAVED BY PIETRO ANTONIO MARTINI. FROM THE " MONUMENT DU COSTUME " The original drawing is in the collection of Baron Edmond de .Rothschild XXI. JEAN MICHEL MOREAU. LA GRANDE TOILETTE. EN GRAVED BY ANTOINE LOUIS ROMANET. FROM THE " MONUMENT DU COSTUME " A. L. Romanet, line-engraver ; b. 1748; d. 1806 ? w. in Paris a qra/wo C oi lelli XXII. JEAN MICHEL MOREAU. LA PARTIE DE WISCH. EN GRAVED BY JEAN DAMBRUN. FROM THE " MONUMENT DU COSTUME " The original drawing is in the collection of Baron Edmond de Rothschild J. Dambrun, line-engraver ; b. 1741 ; w. in Paris a ai lie- We J J Lien XXIII. JEAN MICHEL MOREAU. LE SOUPER FIN. ENGRA\TD BY ISIDORE STANISLAS HELMAN. FROM THE " MONU MENT DU COSTUME " The original drawing is in the collection of the Baronne Alice de Rothschild le c > oitper //// XXIV. JEAN MICHEL MOREAU. LA DAME DU PALAIS DE LA REINE. ENGRAVED BY PIETRO ANTONIO MARTINI. FROM THE " MONUMENT DU COSTUME " The original drawing is in the collection of Baron Edmond de Rothschild ) (I ( ) ) P-/ A A /. ¦( / ! <, nune nu -*_: (inuAA'ela z \ein< \ XXV. JEAN MICHEL MOREAU. LES PETITS PARAINS. ETCHED BY JEAN CHARLES BAQUOY, AND FINISHED IN EN GRAVING BY JEAN BAPTISTE PATAS. FROM THE " MONUMENT DU COSTUME " The original drawing is in the collection of Baron Edmond de Rothschild > ^A) 3 A<._ (A p< •/n/, ) ~» V _ It \ un . f 4 XXVI. JEAN BAPTISTE GREUZE. THE DEAD BIRD. ENGRAVED BY JEAN JACQUES FLIPART J. B. Greuze, painter, draughtsman, and etcher ; b. 1725 ; d, 1806 ; w. in Paris J. J. Flipart, line-engravcr ; b. 1719 ; d. 1782 ; w. in Paris fAue Ijranwiit. XXVII. JEAN BAPTISTE GREUZE. LA VOLUPTUEUSE. ENGRAVED " BY ROBERT GAILLARD R. Gaillard, line-engraver ;' b. 1722 ; d. 1785 ; w. in Paris •*"*• XXVIII. JEAN BAPTISTE GREUZE. LA CRUCHE CASSEE. EN GRAVED BY JEAN MASSARD, 1773 J. Massard, line-engraver ; b. 1740 ; d. 1822 ; w. in Paris XXIX. JEAN BAPTISTE GREUZE. LE TENDRE DESIR. ENGRAVED BY JEAN MASSARD XXX. JEAN BAPTISTE GREUZE. LA VERTU CHANCELANTE. ENGRAVED BY JEAN MASSARD XXXI. JEAN BAPTISTE GREUZE. LA MAMAN. ENGRAVED BY JACQUES FIRMIN BEAUVARLET J. F. Beauvarlet, line-engraver; b. 1731 ? d. 1797; w. in Abbe ville, and Paris XXXII. JEAN BAPTISTE GREUZE. GIRL SEATED, WITH A BASKET. ETCHED BY FRANCOISE BEAUVARLET (DESCHAMPS), AND FINISHED IN ENGRAVING BY JACQUES FIRMIN BEAUVARLETFrancoise Beauvarlet (nee Deschamps) ; b. 1734? d. 1769; first wife of J. F. Beauvarlet. Besides engraving, she produced minia ture crayon portraits A'*'::-: 31 "^^ BpRi / . ¦"¦. . - )^0 sjji. L M tiL \ -H-Sk' ftK 'V a '( 1 i'l' \<. r/th'/n rsi au ( n/v/ie/ ., (.._i iiiiwi'v C/U'\>ii/ter AZ2eic ^-*— .-*,*.«*«-*. ^«_£ XXXIII. JEAN BAPTISTE SIMEON CHARDIN. LECUREUSE. ENGRAVED BY CHARLES NICOLAS COCHIN, THE ELDER J. B. S. Chardin, painter ; b. 1698 ; d. 1776 ; w. in Paris C. N. Cochin I, line-engraver ; b. 1688 ; d. 1754 ; w. in Paris F s XXXIV. PIERRE ANTOINE BAUDOUIN. LE COUCHER DE LA MARIEE. ETCHED BY JEAN MICHEL MOREAU, AND FINISHED IN ENGRAVING BY JEAN BAPTISTE SI- MONET P. A. Baudouin, painter and draughtsman; b. 1723 ; d. 1769 ; w. in Paris J. B. Simonet, line-engraver; b. 1742 ; d. 1813 ; w. in Paris (Irmaml-L k, hi, mini ,1 tJautclorl, XXXV. PIERRE ANTOINE BAUDOUIN. LE LEVER. ENGRAVED BY JEAN MASSARD XXXVI. PIERRE ANTOINE BAUDOUIN. LE CARQUOIS EPUISE. ENGRAVED BY NICOLAS DELAUNAY ,„_._-.._._. ft*. - JJ, CAR CLspn ^iu,-,l,. ,1 XLVI. CHARLES EISEN. THE BETROTHAL. ENGRAVED BY JOSEPH DE LONGUEIL. ILLUSTRATION TO C. J. DORAT, LES BAISERS, THE HAGUE, 1770 The original drawing is in the collection of the Baronne James de Rothschild, Paris XLVII. CHARLES EISEN. LE JOUR. ENGRAVED BY TEAN BAP TISTE PATAS XLVIII. SIGMUND FREUDENBERGER. LA PROMENADE DU MATIN. ENGRAVED BY CHARLES LOUIS LINGEE This and the following plate are from the Suite d'Estampes pour servir a. l'Histoire des Moeurs et du Costume des Francais dans le XVIIIe siecle (Paris 1775) to which Moreau's two sets formed a supplement S. Freudenberger, painter, draughtsman, and line-engraver ; b. 1745 ; d. 1801 ; w. in Berne, and Paris C. L. Lingee, line-engraver ; b. 175 1 ; d. 1819 ; w. in Paris j-ftta-A...-...^. . fa.*lMlrtliBlffltaiffl..-.l.A»JB.;tt..W..«'.J«.i^t|A't'f|||,ft|)BtJ \lSi,A,,lt.li.nif,,^..».:^A,^.AAAi\.^.a.^.a..M.fkf. XLIX. SIGMUND FREUDENBERGER. LA PROMENADE DU SOIR ENGRAVED BY FRANgOIS ROBERT INGOUF The original drawing is in the collection of the Baronne Guillaume de Rothschild F. R. Ingouf, line-engraver; b. 1747 ; d. 1812 ; w. in Paris -^¦> /y.^piW., _x pao.MEiVADK 1)1' S01R.fc^C_4ii £^a^ag«iis^i^ss--^^^g L. AUGUSTIN DE ST. AUBIN. PORTRAIT OF ADRIENNE SOPHIE MARQUISE DE . . . ORIGINAL ENGRAVING A. de St. Aubin, draughtsman, and line-engraver ; b. 1736 ; d. 1807 ; w. in Paris LI. AUGUSTIN DE ST. AUBIN. AU MOINS SOYEZ DISCRET. ORIGINAL ENGRAVING LII. AUGUSTIN DE ST. AUBIN. COMPTEZ SURMES SERMENTS. ORIGINAL ENGRAVING This plate and the preceding represent St. Aubin and his wife LIII. AUGUSTIN DE ST. AUBIN. LE CONCERT. ENGRAVED BY ANTOINE JEAN DUCLOS A. J. Duclos, line-engraver ; b. 1742 ; d. 1795 ; w. in Palis gyxaaawaAaattiM LIV. AUGUSTIN DE ST. AUBIN. LE BAL PARE. ENGRAVED BY ANTOINE JEAN DUCLOS :.. >."\-^-w.v.--:--- ¦-¦.--. i-tj.:«.i-i ¦:-.¦¦¦¦¦ .^.Tl-i^j.:i....^i. ¦ \' r -'^£\^.i"P^ -'-•^-'^¦'^'•", ' •"-"-¦- -¦^-¦¦w^viv