Inspired Tuesday: Antique Marie Antoinette paper doll promoting McLaughlin Coffee.

Inspired Tuesday: a day to share anything and everything inspired by Marie Antoinette and her world.

[image: my photograph/collection]

  

It's not often you take off the gown of a paper doll to see someone hands bound for execution, yet this unique remnant of the vast paper doll trade from the later half of the 19th century is one such example. 

McLaughlin Coffee's paper dolls and sets were, at their core, advertisements for the company packaged in a child and trading card collector friendly package. Over the years, McLaughlin Coffee produced hundreds of different paper doll ephemera for their customers, young and old alike. These included paper dolls of fashionable modern women, as well as dolls with clever gimmicks such as paper dolls of young children with illustrated backs that reveal a hidden surprise: stolen candy!

Among the more historical of their paper doll  advertisements was a series called The Queens, which featured 8 different dolls ranging from Isabella of Spain to Mary Queen of Scots to, of course, Marie Antoinette. Each doll included an additional outfit as well as an accessory, which did not come with the auction I purchased. 

This particular paper doll was actually meant to be folded into a sitting position, hence the somewhat awkward proportions on her red gown. I won't be attempting to sit her down so as to avoid further creasing, but one can easily imagine the first owner of this this doll in the 1890s eagerly pressing down the paper folds of her new treasure just-so in order to sit her on the edge of bedroom desk, pretending it was--where else--a gilded chair at Versailles.

Museum Sunday: A court doll depicting Marie Antoinette

[image credit: Theriault's]

An 18th-century court doll depicting Marie Antoinette, circa the 1780s. This rare and unique piece is one of the few known French court dolls from this era to have survived. This elaborate doll was made from carved wood with silks and muslin fabric used for the gown. This was not a children's toy, but rather part of an overarching group of adult dolls that were produced in the court of Louis XVI. François Theimer, who completed an extensive study of court dolls during this time period, notes that there are 4 types of representative court dolls made during this period: dolls depicting the royal couple, dolls depicting court figures, dolls made during the Affair of the Necklace scandal, and dolls made during the end of the monarchy. 

This particular doll falls into the first category--a doll depicting the royal couple or in this case, Marie Antoinette herself.

In 2008, this doll was sold at auction. The estimate predicted an $8,000--11,000 selling price; the final realized price was $39,000!

Film Friday: Pola Negri as Madame du Barry

A screenshot of Pola Negri as the titular character in Madame DuBarry, a 1919 German silent film loosely based on the life of the last mistress of Louis XV. The film was also released as 'Passion' in the United States, though some of the U.S. prints were slightly censored to remove a particularly gruesome scene depicting the head of Madame du Barry being tossed to the crowd.

5 Marie Antoinette Biographies for Young History Enthusiasts

image: detail from 'Inseperables' by Florence Fuller, 1900

Like many people, my interest in history was sparked when I was still young. My earliest entries into the non-fiction section of my elementary school library were those irresistible  Biesty cross-section books, though it wasn't until the release of the ultra-successful James Cameron Titanic film that I read my first chapter non-fiction book. (Although it took many weeks for my name to finally--finally--be next on the hold list to check out one of the school's limited and highly prized books on the Titanic.)

The market for children's historical non-fiction is still going strong today, and perhaps never before has there been such a varied selection of non-fiction books for children to choose from. Not surprisingly, there is an relatively wide selection of biographies written for younger readers that focus on Marie Antoinette. The following 5 biographies are a non-exhaustive selection which I think will be greatly enjoyed by children who are developing an interest in history.

Who Was Marie Antoinette? by Dana Rau Meachen

Part of the immensely popular 'Who Was?' series, 'Who Was Marie Antoinette?' is a straightforward children's biography that is supplemented with black and white illustrations and occasional one-page interludes that provide additional information to help readers better understand the context of the historical events.

Marie Antoinette, Controversial Queen of France by Heather E. Schwartz

Marie Antoinette: Controversial Queen of France is a classroom reader-style biography of Marie Antoinette's life illustrated with portraits and other drawings from her lifetime. Additional information is provided frequently in margins to provide further context and facts to help readers understand Marie Antoinette's life, the revolution, and the reason for her status as a "controversial queen."

Marie Antoinette, Queen of France by Mary Englar

Part of Snap Books' 'Queens and Princesses' series, Marie Antoinette, Queen of France is a short biography that explores the life of Marie Antoinette through engaging young reader friendly text that is supplemented with actual portraits and illustrations from Marie Antoinette's lifetime; notably, the book also incorporates several quotes from Marie Antoinette's letters in its supplemental material. The book includes a short glossary as well as recommendations for further reading.

Marie Antoinette by Katie Daynes

This charmingly illustrated book is part of Usborne's 'Famous Lives' series. It retells the life of Marie Antoinette through simple text and plenty of full-color illustrations, many of which are quite nice. This book's story-like text makes it ideal for younger readers who would like to get a sense of Marie Antoinette's story before moving on to books with a more traditional educational format as they get older.

 Marie Antoinette Fashionable Queen or Greedy Royal? by Sarah Powers Webb

Marie Antoinette, Fashionable Queen of Greedy Royal? is part of the 'Perspectives on History' series which focuses on polarizing figures throughout history. This biography examines Antoinette's life while also encouraging young readers to think about different contextual perspectives for historical events and people, with the aim of the series being to help develop critical thinking skills in younger readers.

Portrait Wednesday: A portrait of Magdaleine Pinceloup de la Grange with a cat

[credit: The J. Paul Getty Museum]

This portrait by Jean-Baptiste Perronneau depicts Magdaleine Pinceloup de la Grange, née de Parseval, whose husband also had his portrait done by the same artist. In this portrait, Magdaleine is wearing a refined dress that is complimented by a wealth of smaller details indicating the fine station of the sitter; most notably, a string of large, luminous pearls wrapped around her neck over a decorative blue ribbon.

The cat in her lap--identified by the Getty Museum as a chartreux, a classic French breed--is no less adorned with a collar bedecked with bells that echo the pearls around their owner's neck. Were the bells a clever nod to the pearls around Magdaleine's neck, a symbolic gesture to the ornamental nature of portraiture for both humans and animals? Or did Magdaleine simply tire of her beloved chartreux pouncing on the skirt of her gown unexpectedly and insist he wear the bell collar to spoil his fun? 

For anyone hoping for an inside view, this portrait is on display at the Getty Center, Gallery S202.

Book Review: Bistro: Classic French Comfort Food by Alain Ducasse

[image: (C) Bistro: Classic French Comfort Food by Alain Ducasse, Rizzoli New York, 2018]

Bistro: Classic French Comfort Food is a exciting new cookbook from acclaimed chef Alain Ducasse that reveals the recipes of some of his most popular recipes from across his successful bistro-style restaurants: Aux Lyonnais, Benoit, and Allard. Far from being an imposing tome of recipes that appear impenetrable for even experienced chefs, the recipes chosen for this book are presented in an incredibly accessible format. In addition, all of the recipes based on traditional and beloved French comfort foods, given a classic Ducasse contemporary twist that brings them to new tasteful heights.

There are a total of 110 recipes included in the book, ranging from decadent appetizers such as camus artichokes with Lyon-style cold foie gras to heartier dishes such as tournedos of beef with black pepper sauce and roast dock with olives, all the way to rich French desserts that are sure to delight any tastebuds, such as an incomparable mousse au chocolat.

The book is divided into Appetizers, Main Courses (Fish, Organ Meats, Meats, etc) and finally Desserts. Each recipe carries a designation indicating which of Ducasse's critically acclaimed restaurants it hails from, which is a great touch for Ducasse fans. The greatest element of this recipe book is the very accessible formatting of each recipe, which is broken down into simple steps that makes even the more complicated recipes much more approachable.

I've tried a few of the simpler recipes and my favorite is definitely the onion soup. It's got the classic taste one would expect from a simple French onion soup with a special "Ducasse" touch that makes it a definite delicious hit! I will likely be sticking to this recipe for my onion soups from now on, since it resulted in a much smoother, richer taste and other recipes I've tried before.

[image: (C) Bistro: Classic French Comfort Food by Alain Ducasse, Rizzoli New York, 2018/Photo (C) Pierre Monetta]

 

I would recommend Bistro: Classic French Comfort Food for anyone looking to approach classic French recipes with a contemporary twist that will surprise and delight any fans of French cuisine. I also recommend this book for anyone who is a fan of Ducasse and his acclaimed restaurants.

[A review copy of this book was provided to me by the publisher]

Madame Alexander Heads to the 18th-Century (Part 1)

Barbie isn't the only doll that time travels! Madame Alexander dolls have been around since 1923, when Beatrice Alexander--the Madame Alexander herself!--began designing and selling dolls with a unique look and quality styles. Over the year, Madame Alexander dolls have ranged from literary characters, movie characters, ballerinas, fashion icons and just about everything in between. By 1980, the company was producing 1 million dollars a year--an astonishing feat, especially considering that the original owner ran the company until she sold it in 1988.

Among the many offerings that Madame Alexander has released over the years are a selection of historical dolls, including both actual historical figures and simply 18th century inspired dolls. Let's dive right in! And who knows, maybe you'll find a new doll (or two or three) to add to your wish-list!

Marie Antoinette (1946) 

 [image: Theriault's]

This beauty is a composition doll created by Madame Alexander for her 1946 Portrait series. She was inspired by Marie Antoinette and is one of the first among Madame Alexander dolls inspired by the queen. This lavishly detailed gown includes handmade silk flowers, bows, trim, and a hand-painted face. Like all of the older Madame Alexander dolls, she is hard to come by, and had a very limited production.

Louise Elisabeth Vigee Le Brun

Yes, even Elisabeth Vigee Lebrun has her own doll! This charming doll features an outfit inspired by a self-portrait of the artist, and includes details such as her flowered straw hat, a lace shawl, and delicate earrings. This doll was a LE250.

Marie Antoinette (1987)

 [image: EBTH]

This doll was released in 1987 and is the second of Madame Alexander's dolls based on Marie Antoinette, though it was the first to be mass produced. This particular doll features miniature faux pearls, a decorative hand fan, and a youthful dress with pink and blue details that give the doll a more youthful "dauphine-like" appearance. This doll was LE325.

"1774" MetKids Collection

 [image source: Ebay]

This interesting doll was part of a collection created for the Metropolitan Museum of Art, featuring dolls with fashions from various historical eras. "1774" features a fashion inspired by the 1770s, with an embroidered gown, ruffled details, and of course, a giant feather. This doll was LE150.

Duchess of Devonshire

This depiction of the famous Georgiana Cavendish is from The Historical Collection,  and features an English-style striped gown with floral details and an extravagantly large hat, as befitting the famous duchess. This doll was LE350.

Marie Antoinette (2005)

This vision in pink and red is the third of Madame Alexander's Marie Antoinette dolls, and features bows, ribbon embroidery, miniature jewelry and a very large (and very white!) hairdo. This doll was LE700, much higher than many other Madame Alexander releases.

Marie Antoinette (2009)

 

[image: Matilda's Dolls]   

This is the fourth and so far latest Marie Antoinette from Madame Alexander. It was released in 2009 and features a pink dress with beautiful floral trim and a youthful, Sofia Coppola-esque aesthetic. This doll was LE300.

Coming in Part 2: Madame Alexander Meets Madame Pompadour...

Book Review: Dior and His Decorators by Maureen Footer

Christian Dior is forever (and duly) associated with the revolution in fashion that altered the landscape of the design industry in the years following WWII. Dior and His Decorators: Victor Grandpierre, Georges Geffroy, and the New Look by Maureen Footer is a groundbreaking account of the two men responsible for the aesthetic and evolution of Dior's personal residences, as well as his couture fashion house and the Dior brand as a whole. The book also explores the relationship between interior and fashion design, and how the burgeoning New Look movement in Paris developed alongside a brand new type of interior design.

Design historian Maureen Footer deftly explores the earliest years of Christian Dior, from his childhood to the breaking success of his couturier career. It was amidst this success that Dior chose Victor Grandpierre to design the very first couture house at 30. Avenue Montaigne. It was Grandpierre who created the exceedingly elegant yet appropriately restrained design found in Dior's first salons; Grandpierre combined luxurious designs such as Louis XVI inspired chairs and white molding accents with subtle pale grey walls, creating an iconic look that still inspires designers today. Grandpierre's interior designs were effectively elaborate stages set to perfectly highlight Dior's clothing--a couture theatrical event that incorporated modern sensibility with the romance of the 18th century.

Grandpierre's work with Dior was not limited to interior design: he created the original typeface, logo, packaging and even signage for the Dior brand. The exquisite taste of Georges Geffroy, the veritable "who's who" of 18th century antiques at the time, also had a lasting impact on the aesthetic choices Dior made in his couture houses as well as his brand. Grandpierre's impact was no less longlasting: the original Grandpierre template for Dior's packaging and typeface is still used today--a testament to its role in solidifying Dior as an icon unto itself.

[Dior and His Decorators: Victor Grandpierre, Georges Geffroy, and the New Look by Maureen Footer., September 2018, Vendome Publishing. © Association Willy Maywald]

When Dior's New Look was premiered to the world in 1947, it caused an immediate sensation. The soft romance and undeniable glamour was an appealing choice to audience weary from the Second World War, and Dior's fantasy refinement appealed to both fashion and interior designers who were looking to create something new and substantial in the wake of the figurative and literal rubble left behind. Dior's New Look was the template upon which interior designers based new and exciting designs inspired by an eclectic, refined mixture of the 18th century aesthetic with a modern chicness. The aesthetic choices of both Geffroy and Grandpierre made an indelible impact on design, with their choices of bold saturated colors, the integration of antiques into modern and classic decor, and materials such as the now iconic tiger velvet.

Yet the work of Geffroy and Grandpierre was not restricted to their memorable work for Dior. After Dior's untimely passing in 1957, both men began designing for others in earnest--aristocrats, other fashino houses, and even legendary film stars sought the creativity and skill of these two incredible designers. Their interiors for such legends as Yves Saint Laurent, Maria Callas, and Daisy Fellowes were celebrated and even emulated on a global scale. 

Despite the passing of decades since their most iconic works, the designs developed and nurtured by Grandpierre, Geffroy and Dior have not only stood the test of time but continue to be a source of timeless inspiration for countless people today. 

[Dior and His Decorators: Victor Grandpierre, Georges Geffroy, and the New Look by Maureen Footer., September 2018, Vendome Publishing.Jacques Boucher/© Condé Nast Paris]

Historian Maureen Footer has noted the 5 lessons that still resonate today from the work of these three men:

1. Dior and his decorators remind us how history can inform, enrich, inspire our interiors and add perspective to our understanding of the world at large.  In our moment of technological revolution, global changes, geopolitical transitions, political disruption, referring to history can be an invaluable touchstone.

2.   All three show that being modern and of the moment is an APPROACH rather than a fixed RECIPE. Victor Grandpierre in his interiors was the first to break all the existing French rules to bring comfort, individuality, and function to design. These are now at the core of our approach to interiors.

Georges Geffroy , too, revolutionized design---bringing eclecticism into our living rooms.  As the post-war world grew smaller (thanks to developments in transportation and media)  Geffroy’s interiors reflected this---he was the first to introduce Thai silk, Nepalese carpets, Nordic stoves, pre-Columbian sculpture into rooms with fine French furniture.

3.Just as Grandpierre used interior design to interpret the New Look into the interiors and branding of Christian Dior Couture, Georges Geffroy took inspiration from the couture techniques he learned when a styliste  at Poiret and Patou which he in turn applied with revolutionary results to interior design---draped walls, velvet-sheathed cornices, suede-lined curtains.

5. Life is more than mere things, it is an attitude. All 3 men had a broad view of culture.  For them, it was more than a well-cut dress or an elegant living room.  They believed in a far-reaching inclusive approach to life—from manners, self-restraint, and civility to entertaining, flowers, conversation, art,  and jewelry.  Dior exemplified this in his home and lifestyle as well as his dress designs.,  Geffroy was famous for advising his clients on their clothes, flowers, table, and entertaining and would accompany them to their fittings, their visits to galleries, jewelers, and florists to guide their choices.

Dior and His Decorators: Victor Grandpierre, Georges Geffroy, and the New Look is an important study of an often neglected element of Christian Dior and the burgeoning interior and fashion design world in postwar Europe. Footer's book is the only modern study of Victor Grandpierre and Georges Geffroy and their important role in Dior's couture house and interior design, and is highly valuable for that element alone. Footer's exploration of this trio is highly readable and will be especially appreciated by anyone with an interest in interior design and fashion history. The book itself is a visual treat, combining Footer's engaging text with some of the most iconic photos highlighting Dior's style and interior design, including fashion shoots, advertising, and of course, plenty of interiors. The photos are all reproduced in crisp high quality and the book's binding is durable and perfect for spreading the book out on a table to peruse.

I highly recommend Dior and His Decorators: Victor Grandpierre, Georges Geffroy, and the New Look to anyone interested in exploring a sorely neglected area of Dior and fashion history. The book will also appeal to anyone with an interest in French interior design and that iconic period in fashion history that followed WWII. 

[A review copy of this book was provided to me by the publisher]

What They Said Saturday: "Madame de Noailles abounded in virtues..."

'What They Said' Saturday: a day for quotations of all kinds, including excerpts from letters written by Marie Antoinette and her contemporaries, memoirs, non-fiction, novels and everything in between.

[image: Judy Davis as the Anne d'Arpajon, comtesse de Noailles in Sofia Coppola's Marie Antoinette]

"Madame de Noailles abounded in virtues. Her piety, charity, and irreproachable morals rendered her worthy of praise; but etiquette was to her a sort of atmosphere; at the slightest derangement of the consecrated order, one would have thought the principles of life would forsake her frame."

--Madame Campan on the comtesse de Noailles, Marie Antoinette's first dame d'honneur

Book Review: Chateau de Villette: The Splendor of French Decor by Guillaume Picon

Château de Villette: The Splendor of French Decor is an extensive look at the famous Château de Villette, one of the most beautiful and memorable of the French chateaus built in the 17th and 18th centuries. The book delves into the history of the chateau since its construction in the late 17th century through its multiple modern renovations, its present-day use in popular culture, and designation as an important historical monument. Guillaume Picon's informational text is supplemented by rich, high quality color photographs by Bruno Ehrs, showcasing not just sweeping views of the Château de Villette's gardens and exteriors but intimate details inside its many rooms. 

Although previous manor homes and structures existed on the grounds prior to the 17th century, it was not until the later half of the 17th century that the Châteaude Villette as we know it today was born. The original design is attributed to both Francois Mansart and Jules Hardouin-Mansart; it was Jules, chief architect to Louis XIV, who took over the full planning of Villette when Francois died in 1666. And although not all of the original 17th century structural designs made it through the age of Enlightenment--for instance, sometime during the 1700s, the entrance hall was completely transformed into a grand open space through the moving of an original staircase--the Château's 17th-century style still shines through in many respects.

The 18th-century saw the renovation of the Château into new styles preferred during this period, including a near complete renovation of the gardens and the commissioning of painters and sculptural workers to add embellishments to many of the primary Château's rooms.

[ p.120-21 © Bruno Ehrs from Château de Villette, Flammarion 2018.]

Yet the Château's 18th-century style is best represented not solely through the new paintings or renovated garden, but through the presence of a remarkable woman: Sophie de Grouchy. Sophie, whose father inherited the state in 1752, was an intelligent young woman whose philosophical mark on the Château de Villette is still felt today. Sophie embodied the personality and traits that earn her the evocative title 'daughter of the Enlightenment.' Educated beyond what was typical of the time, Sophie was gifted in languages, music, art, and even science. As she grew into her teens, she became an avid reader of French philosophy, and after her marriage in 1786, the residence she and her husband (the famous Nicolas de Condorcet) shared in Paris became one of the most well-known salons of the period. Her husband died while on the run during the revolution and Sophie returned to Villette following Thermidor; it was at Villette that she continued to produce written works, including the publication of one of her late husband's last pieces. Although she Salon she revived in these years did not take place at Villette, the sentiments she harbored there in her earlier years can be felt in the open, egalitarian Enlightenment style seen throughout Villette's estate.

Villette was auctioned off in 1818 and over the next decade, the new owner commissioned several extensive renovations. The most notable renovation was to the gardens, which were re-imagined by famous landscape architect Jacques Lalos. Lalos wrote of his transformation of Villette's gardens: "For this new project, I created along the length of the park, set across three ponds that I abolished, a lake of majestic appearance, offering a degree of grandeur. As its waters arrive in front of the chateau they flow over rocks and rush down into a low rive, which runs onward to flow into the millstream, and thence into the Seine."

Over the next few decades, Villette changed owners with relative frequency. In the first decades of the 20th century, Villette passed hands seemingly every few years, until the current owner, one Mme Pernod, sold it to her son Robert Gérard in 1941. Gérard had already worked tirelessly in 1939 to have Vilette and its outbuildings registered with Monuments Historiques, which was finalized in 1942 during the occupation of France. The German military had some presence at Villette during this time, which resulted in the chateau being damaged by bombs in August of 1944. The inspector-general of Monuments Historiques applied for emergency credit to fix the damage, noting in particular, "The chapel is almost completedly destroyed ... the orangery facades are badly damaged ... shells have blown holes in the estate wall."

 [© Bruno Ehrs from Château de Villette, Flammarion 2018.]

Over the next few decades, Gérard and the team behind Monuments Historiques worked not only to repair the damage done during WWII but to "restore the gardens to their classical layout, the main outlines of which have been revealed thanks to large-scale earth-moving works." Robert Gérard's crowning achivement during his long tenancy of Villette--which lasted until his death in 1998--was the restoration of the gardens, which included the purchase of 18th-century statuary that would have been right at home in Enlightenment-era Villette.

After Gérard's death, the estate was purchased by a businesswoman who eventually began renting the grounds out to filmmakers. Films and TV series such as The Da Vinci Code, Nicholas Le Floch and La Mante were filmed throughout the grounds.

[ p.152-53 © Bruno Ehrs from Château de Villette, Flammarion 2018]

Finally we come to the most modern era for the Château de Villette. In 2011, the estate was sold again, this time to owners who made the monumental decision to completely restore the estate to its former 18th-century glory. The owners enlisted the help of the chief architect to Monuments Historiques, who was also responsible for work and restorations done on Versailles and the Petit Trianon; as well as Jacques Garcia, an interior designer whose work is famous for its heavy attention to detail, and who was also responsible for some of the restoration work at Versailles. The end result of their tireless work is a Château that is fully restored to its romantic heyday. As Picon writes in his foreword, "... the  Château de Villette is now revealed once again in its true splendor, a serene reflection of that moment of perfection that was France during the Enlightenment."

Château de Villette: The Splendor of French Decor is divided into two sections, the first being an exploration of the estate's history since its earliest days through the modern restoration; and the second being an extensive look at the interior design in the Château as it appears today.The engaging, informational text by Guillaume Picon is supplemented by gorgeous photos by Bruno Ehrs, which include surprising delights, particularly in the second half of the book with details that give the Château much life (My favorite of these delights? A beautiful black fluffy cat. Look for the cat!) The book itself is the same high quality that one can expect from Flammarion's coffee table sized books, which is to say, it's a durable book with exceptional binding and paper quality that I definitely appreciate.

I heartily recommended Château de Villette: The Splendor of French Decor to anyone with an interest in 17th and 18th century French Châteaus and architecture; as well as anyone with an interest in French interior design.

[A review copy of this book was provided to me by the publisher]

Portrait Wednesday: Marie Joséphine of Savoy by Giuseppe Duprà

Portrait Wednesday: a day for sharing portraits of Marie Antoinette and her contemporaries.

You may already recognize this portrait of a young Marie Joséphine of Savoy (future comtesse de Provence) by Giuseppe Duprà: it is a companion piece to a similar portrait depicting her sister, Maria Theresa of Savoy, by the same artist. It is likely that the two portraits were commissioned around the same time, as they are cohesive in everything from dress to composition.

As it was mentioned in a previous Portrait Wednesday, Duprà was popular among royal patrons, and his seven portraits of Savoyard princesses can still be seen in the Palazzina di caccia of Stupinigi today.

Like the portrait of her sister, a closer look at this portrait reveals interesting details that denote the young Marie Joséphine's place in society, along with a few details that hint at greater accomplishments than her family name. Her gown is made with a remarkable blue fabric with white or silver embroidery, and features the same delicate lace sleeves and flounces as her sister's gown. Hints of expensive ermine can be seen in the cloak draped behind her, indicating her wealth and social status. Her hair is styled and lifted slightly, with flower and diamond accents that match her diamond earrings.

Of particular note here is how Marie Joséphine was posed, particularly in comparison to the portrait of Maria Theresa. While Maria Theresa was posed with a simple flower in her hand and an ornate flower vase on the table, Marie Joséphine is posed in a more mature way: she is holding a white dove (or pigeon) to her chest and resting her hand on drawing. Doves could be used in portraiture to denote innocence and purity, as well as religious devotion. The inclusion of a drawing symbolizes her personal accomplishments, as befitting her slightly higher age when compared to her sister Maria Theresa. Incidentally, there is another portrait online--this one after Dupra--which depicts Marie Joséphine showcasing one of her personal drawings. In this portrait, Maria Theresa is not simply a Savoy princess, but a growing young lady with accomplishments of her own.

New and Upcoming Book Releases

A selection of new and upcoming book releases. Enjoy!

Non-Fiction

Marguerite Gerard: 1761-1837 by Carole Blumenfeld [Gourcuff Gradenigo, December 2018]

Fighting the French Revolution: The Great Vendée Rising of 1793 by Rob Harper [Pen and Sword Military, January 2019]

General Sir Ralph Abercromby and the French Revolutionary Wars 1792–1801 by Carole Divall [Pen and Sword Military, January 2019]

Politics and Portraits in the United States and France during the Age of Revolution by T. Lawrence Larkin [Smithsonian Institution Scholarly Press, February 2019]

The Army of the French Revolution: From Citizen-Soldiers to Instrument of Power by Jean Paul Bertaud, translated by R. R. Palmer [Princeton University Press, February 2019]

Boilly: Scenes of Parisian Life by Francesca Whitlum-Cooper [National Gallery London, March 2019]

Louis XIV: The Power and the Glory by Josephine Wilkinson [Pegasus Books, March 2019]

Making Space for the Dead: Catacombs, Cemeteries, and the Reimagining of Paris, 1780–1830 by Erin-Marie Legacey [Cornell University Press, April 2019]

French Paintings in The Metropolitan Museum of Art: From the Early Eighteenth Century through the Revolution by Katharine Baetjer [Metropolitan Museum of Art, April 2019]

In Search of Marie-Antoinette in the 1930s: Stefan Zweig, Irving Thalberg, and Norma Shearer by T. Lawrence Larkin [Palgrave Macmillan, May 2019]

Fiction

Enchantée by Gita Trelease [Flatiron Books, Feburary 2019]

Bassin de Bacchus à Versailles (1912-1913) by Marcel Jefferys

 Marcel Jefferys (1872-1924) was a Belgian painter whose work covered a breadth of subjects; including, of course, the palace of Versailles. Several lovely paintings of the famed palace and its grounds were recently auctioned by Brussels Art Auctions, including this particular piece of the Bassin de Bacchus. Enjoy!

Bassin de Bacchus à Versailles (1912-1913) by Marcel Jefferys (1872-1924). [credit: Brussels Art Auctions, via Invaluable]

Museum Sunday: A nightlight owned by the duchesse d'Angoulême

Museum Sunday: a day for highlighting objects, books, and other items from the collections and lives of Marie Antoinette and her contemporaries.

 [image credit: Chez Osenat, via Auction.fr]]

This Sèvres vase-style veilleuse (a type of night light) depicts the pavilion de Breteuil, an estate which had by the time of the painting been integrated into the Chateau de Saint-Cloud. The pavilion de Breteuil was reintegrated into the over-arching estate of the chateau de Saint-Cloud in 1793, when the original owner's property was declared property of the state. This particular veilleuse was purchased on October 2nd, 1822 by the duchesse d'Angoulême for 400 francs. 

What They Said Saturday: 'In undertaking yet another biography of Queen Marie Antoinette considerable courage is needed..'

Now back to our regularly scheduled program after a brief unannounced hiatus! Though I may not be doing themed posts every weekday in order so that I may keep up with other types of posts as well, so they will be staggered.

'What They Said' Saturday: a day for quotations of all kinds, including excerpts from letters written by Marie Antoinette and her contemporaries, memoirs, non-fiction, novels and everything in between.

A photo of Dorothy Moulton-Mayer (1886-1974) taken from a negative from Bassano Ltd. [credit: © National Portrait Gallery, London]

Dorothy Moulton-Mayer, born circa 1886, did not begin her life as a writer. She originally trained in vocal studies and performed as an opera singer throughout the world for several years. In 1923, she and her husband Robert Mayer founded a special orchestral concerts for children program which supported young children interested in musical performance. Beginning in the 1950s, Mayer began publishing her written studies of various historical figures. In all, she published biographies on four people: Louis Sphor, Louise of Savoy, Angelica Kauffmann and, of course, Marie Antoinette.

This memorable quote comes from the foreword of her biography on Marie Antoinette, and it has stuck with me since I first read it.

In undertaking yet another biography of Queen Marie Antoinette considerable courage is needed; so much ink has been spilled in praise or blame, one invites so much comparison with other biographers. And yet in the case of a personage who presents an enigmatic figure to the world, there may still be room for a new appraisal. In France she is even today not dead, her name need only be mentioned for a lively discussion to break out. In England she is still remembered, if only for the height of her hats and for one remark, 'If the people have no bread let them eat cake,' for which no authenticity can be discovered. So I have endeavored as a woman to present the picture of a woman who was loved and hated, praised or criticized, who has been called traitress, martyr, and even saint, but who has never sunk into oblivion.