Auctioning Off: the Grand Dauphin

Louis de Bourbon, sole surviving child of Louis XIV and Marie Thérèse was a superb collector. His private collection counted hundreds of absolutely exquisite objets d'art - his taste was impeccable and as the heir to the throne, he could expect the best of the best.

Sold by Sothesby's, this cask is attributed to Alexandre-Jean Oppenordt and date back to about 1690. Note the crowned dolphins on the sides alongside the coat-of-arms of the dauphin - these makes it almost certainly specifically made for the Grand Dauphin. Numerous L's further point to the provenance of Louis - although that particular name was hardly unusual.

The dark wood is inlaid with a variety of brass, horn and tortoiseshell. The materials were quite popular with Oppenordt who used them for several other projects.

Two years after moving permanently to Versailles, the Grand Dauphin had these two pedestals delivered to his apartment in the growing palace. Created by the famed master André-Charles Boulle, the style is quite similar to the casket above: dark background with tortoiseshell, horn, brass and gilded bronze. They further appear from the inventory of the crown prince's apartment in 1689.

These pedestals were intended to carry a collection of large bronzes gifted to Louis by his father, Louis XIV. After his death in 1711, these bronzes were made part of the royal collection. As such, they were moved to various other royal residences over the years, including those of Choisy and Meudon. They were even mentioned in the royal inventory of 1775.

A pair of flintlock pistols dated to 1688 and made by Bertrand Piraube who was a popular gunmaker for the king. Made from dark walnut wood inlaid with silver scrollwork, the pistols are adorned with the fleur-de-lys of France as well as the royal heir's personal coat-of-arms. When observed from above, the head of the war-god Mars can be seen.

This book contains the ballet "Le Triomphe de l'Amour" by Jean-Baptiste Lully who worked for Louis XIV. That very ballet was performed for the wedding between the Grand Dauphin and Marie Anne Christine Victoire of Bavaria in 1680 - this book was published the following year by Christophe Ballard. 

Bound in red, Moroccan leather, the book is stamped with the Grand Dauphin's personal coat-of-arms with each corner adorned by a golden fleur-de-lys. The book's spine is decorated with both these French lilies and the dolphins symbolising the dauphin himself. 

Gifted to the Grand Dauphin in 1681 by his royal father, Louis XIV, this bronze depicts Hecules Overcoming Achelöus by Tacca. It dates back to about 1640. This happened to be one figure amongst a collection which counted four more; the remaining three were also a part of the gift. After the Grand Dauphin's death in 1711, they were reabsorbed into the royal collection where they remained until the revolution.

Another figure which belonged to the Grand Dauphin was this version of the Rape of a Sabine which has been attributed to the Italian Antonio Susini. It was produced in Florence between 1590-1610 and appear in the inventory of the Grand Dauphin's collection at Versailles in 1689. From then, it appear again in the inventory of the Garde Meuble (royal furniture) of 1738.

Auctioning Off: Madame de Pompadour

Being one of the most expensive royal favourites, the reign of Madame de Pompadour was characterised by its classic rococo with its delicate and sumptuous decor. Bright colours, luxurious materials and exquisite porcelain were hallmarks of the period. Yet, with the premature death of Jeanne-Antoinette de Poisson, her belongings were quickly scattered.

These two candelabras with their distinct cockerels were acquired by Madame de Pompadour for her Hôtel d'Évereux (now the Palais d'Élysées). They would be placed near her library there. The date of purchase is set to be 4th August 1755 with the seller being Lazare-Duvaux. They also figure in the inventory made up after her death in 1764.

The porcelain itself is not from Sèvres which she otherwise championed. Instead, it is imported from China which only added to its prestige - and cost. She had originally paid 360 livres per the pair.

As a patron of the Enlightenment philosophers, it was only apt that Madame de Pompadour possessed a substantial personal library. At the time of her death, her library counted about 3500 books - all bound in leather and stamped with her personal coat-of-arms. Her favourite colours for the leather appear to have been red and yellow. 

This set of books contain 17 volumes and was sold by Christies in 2021. The subjects vary over ten different topics.

The little poem beneath is thought to have been written by Madame de Pompadour herself on the occasion of Louis XV's victory at Fontenoy in 1745. The piece is called "La Fontenoy Fanfare" and goes as follows:

Le roi le plus aimable
Est le plus grand ses rois
Il efface par les exploits
Les héros de l'histoire et les dieux de la fable.
Quels sons de leco repette
A la gloire des lis
C'est la même trompette
Q'Henri forma jadis
A chanter la deffaite
De ces fiers ennemis
Au temple de mémoire
Il est d'autre désirs
Pour plus d'une victoire
Son coeur a des soupirs
A Fontenoy la gloire
A Choisy les plaisirs


Tentative translation
The most amiable king

and the greatest of our kings

He effaces by his deeds

The heroes of history and the gods of fables.

What lessons repeated

To the glory of the lilies (perhaps a reference to the royal lilies of France?)

It is the same trumpet

Which Henri once used 

To sound the defeat 

Of these proud enemies 

At the temple of memories

There are other desires

For more than one victory

His heart sighs

At Fontenoy, the glory 

At Choisy, the pleasure

This happens to sum up the character of Louis XV quite well; despite achieving the greatest military victory of his reign in 1745, his eternal melancholy caused him to always seek out distractions - including at Choisy where Madame de Pompadour waited.

Once she ceased sharing a physical relationship with Madame de Pompadour, she attempted to mould herself into the perfect image of virtuous companion. A part of this transformation was a reconciliation with the church - something that had been impossible while committing adultery. This oratory is believed to have belonged to Madame de Pompadour; it dates back to about 1750. The artist is thought to have been Philippe Caffieri.

A letter from the marquise herself to Nicolas René Berryer, Comte de La Ferrière who was residing in Paris when he received this letter in 1757. The letter includes the red seal and the folds on the paper clearly show how the letter was folded when sent.

Auctioning the Past: A Court Collection

As one of the biggest and most sophisticated auction houses, Christies has had its fair share of auctions dealing with the remains of Versailles. One particular such took place on 16 April 2012 during which several pieces of art of the French royal family was sold.

A descriptive volume
A different sort of remnant of the court was this book from 1740. It is a detailed account of the wedding and subsequent celebrations held in honour of Madame Louise Élisabeth's wedding to Don Felipe of Parma. Madame Louise Élisabeth was the eldest daughter of Louis XV - and the only one to marry. Such volumes were nothing new; during the reign of Louis XIV, publications would detail any larger royal festivities - particularly after the court moved out of Paris.

Presumed to be Madame Adélaide
This portrait - which fetched 21.250 euros - is presumed to be of Madame Adélaide, the fourth daughter of Louis XV. It is the work of Louis Dupont. If you think the style is very similar to court favourite Nattier, then you are correct. Dupont was a protégé of the archbishop of Bayeux (a member of the Luynes-family) who paid for him to study under Nattier.

Travelling trunks 
Travel trunk in red leather with the coat-of-arms of Marie Thérèse of Savoy, Comtesse d'Artois. When the court travelled from residence to residence, the royal family often transported their personal belongings in trunks such as these.

A similar item is the travelling trunk below which belonged to one of Mesdames, the daughters of Louis XV. It is hazarded that this particularly trunk was used to store items of clothing in - possibly for Madame Adélaide. 

Madame Élisabeth and the Dauphin
Madame Élisabeth, sister of Louis XVI, is portrayed in a park next to her nephew, the Dauphin. The watercolour sketch is by Antoine-Louis-François Sergent-Marceau who completed it in 1786; in a rather disturbing turn of events, four years later he would join the revolutionaries and later still, partake in the September Massacres of 1793. Just eight years after he painted this sketch both of the sitters were dead - the young dauphin of illness in 1789 and Madame Élisabeth by guillotine in 1794.

The young Comte de Provence
Presumed to be a portrait of the Comte de Provence as a child, this portrait was painted by an unnamed member of Louis Tocque's entourage. The orders and the blue sash worn by the young boy clearly denotes his royal status.

The king's case
This case in red leather has two interlaced L's underneath a crown - it is therefore likely that they belonged to Louis XV himself. It looks remarkably much like the travel trunks and might have been used for storing smaller bowls when the king was on the move - which was very frequently. Within the case are two smaller compartments; the key also bears the French coat-of-arms.

An ill-fated child
Another presumed portrait, this one shows the young Duc de Bourgogne. As the eldest son of Louis Ferdinand and Marie Josèphe de Saxe, he was to have inherited the title of dauphin after his father. Unfortunately, he died at the age of just 10 years - this portrait is presumably painted when he was seven years old by Louis Dupont. Upon his - and his father's - premature death, the throne went to his younger brother: Louis XVI.

Courtly nécessaire
This toilet nécessaire is marked with the arms of the Marquis and Marquise de Guesnon. It contains ten glass bottles and several small pots of Sèvres porcelain. The styling of the box is very in tune with the passion for Far Eastern influences. It is estimated to have been made between 1774-80 which places it in the beginning of the reign of Louis XVI. We know from the Almanach de la Cour that Jean Blaise Guesnon died in 1784 and had previously been employed in the king's household.

Portrait of a favourite
The Princesse de Lamballe is depicted by Marie-Victoire Lemoine in this portrait from 1779. At this point, Madame de Lamballe was recognised as part of Marie Antoinette inner circle; despite her young age, the Princesse was a widow and extremely wealthy. At court, she held the impressive position of Surintendante of the Queen's household - the highest position available to a woman at court.

Madame Élisabeth's chair
Fetching a staggering 109.000 euros, this single chair was commissioned by Madame Élisabeth for her apartment at Compiègne. It was delivered to her at an unknown date but duly stamped with its provenance.

The queen seated

A little known portrait of Marie Antoinette, seated on a sofa, was sold for 18.750 euros. It is attributed to Louis-Charles Gauthier d'Agoty. The sellers (the Comte and Comtesse Niel) claims that Élisabeth Vigée Le Brun painted it by memory in 1796 - three years after the queen's execution. It was later given to the Duchesse d'Angoulême - better known as Madame Royale, Marie Antoinette's daughter.

And a loyal friend

This incredibly smug-looking dog is said to be no other than the famous Mimi, favourite companion of Madame de Pompadour. It is said to be by Fragonard who made it in 1754 for the Marquis de Marigny, brother of the royal favourite. It would seem that the beloved pet has been given its very own pearl for its pink ribbon.