61 Mademoiselle de Clermont (984). . . . . unnamed.
Half-length, facing in front, hands not seen. She is dressed in a white dress, with a garland of flowers across it from under her left arm to her right shoulder. Behind her she has a blue scarf. Her hair is powdered and done high up. On canvas, 2 ft. 5 in. high, by 2 ft. wide.
Behind is written:—“Marianne. de. bourbon. nommeo. Mademoiselle. de. Clermont.”
She was born in Paris in October, 1697, and was the daughter of Louis, the third Duke of Bourbon, and his wife Louise Françoise de Bourbon, Mademoiselle de Nantes, a natural daughter of Louis XV. In 1725 she was appointed “Surintendante de la Maison de la Reine.” The story of her and her lover, M. de Melun, and his tragic end, forms the basis of Madame de Genlis’ charming little novel, “Mademoiselle de Clermont.”
This portrait is painted in the style of Nattier.
62 Louis XVI. in his Coronation Robes (516). . . . . Callet.
Full-length, standing, facing to the left. His left hand holds his hat by his side, his right leans on his sceptre. He is attired in the royal robes of France, a purple mantle embroidered with fleurs-de-lys, and an ermine tippet, etc. He has a small wig; his face is shaven. Behind him is his throne, with a figure of Justice. On canvas, 9 ft. high, by 6 ft. 5 in. wide.
This is the original presentation frame, decorated with fleurs-de-lys.
Though formerly labelled “Greuze,” it is really a replica of Callet’s well-known portrait, of which, besides the original at Versailles, there are other repetitions at Madrid and elsewhere, distributed to the various courts of Europe on the king’s accession. The original was engraved by Bervic, the greatest of French engravers, the plate being lettered with the painter’s name, “Callet Peintre du Roi.”