The Sword Dance

Prompt: In The Sword Dance, how is the abstract discussed?

The Sword Dance (Polish: Taniec wśród mieczów) is a 19th-century painting series by the Polish painter Henryk Siemiradzki. It is also known as Dance Amongst Daggers and Dance Amongst Swords, among other names.

image:Henryk Siemiradzki - Taniec wśród mieczów (1887).jpg

Category:Paintings by Henryk Siemiradzki

image:Siemiradzki Taniec wsrod mieczy Sotheby.jpeg

image:1881 Siemiradzki Tanz der Schwerter anagoria.JPG

Category:Collection of the Tretyakov Gallery


The Sword Dance

Prompt: Focus on The Sword Dance and explain the Description.

The paintings all depict a nude woman who dances between swords that are placed on the ground, while a group of women play music and a few men watch. The setting is Italian, and there have been several interpretations of what exactly the painting depicts.

image:Henryk Siemiradzki - Taniec wśród mieczów (1887).jpg

Category:Paintings by Henryk Siemiradzki

image:Siemiradzki Taniec wsrod mieczy Sotheby.jpeg

image:1881 Siemiradzki Tanz der Schwerter anagoria.JPG

Category:Collection of the Tretyakov Gallery


The Sword Dance

Prompt: Explain the Description of this artwork, The Sword Dance.

The paintings all depict a nude woman who dances between swords that are placed on the ground, while a group of women play music and a few men watch. The setting is Italian, and there have been several interpretations of what exactly the painting depicts.

image:Henryk Siemiradzki - Taniec wśród mieczów (1887).jpg

Category:Paintings by Henryk Siemiradzki

image:Siemiradzki Taniec wsrod mieczy Sotheby.jpeg

image:1881 Siemiradzki Tanz der Schwerter anagoria.JPG

Category:Collection of the Tretyakov Gallery


The Sword Dance

Prompt: How does The Sword Dance explain its Description?

The paintings all depict a nude woman who dances between swords that are placed on the ground, while a group of women play music and a few men watch. The setting is Italian, and there have been several interpretations of what exactly the painting depicts.

image:Henryk Siemiradzki - Taniec wśród mieczów (1887).jpg

Category:Paintings by Henryk Siemiradzki

image:Siemiradzki Taniec wsrod mieczy Sotheby.jpeg

image:1881 Siemiradzki Tanz der Schwerter anagoria.JPG

Category:Collection of the Tretyakov Gallery


The Sword Dance

Prompt: In The Sword Dance, how is the Description discussed?

The paintings all depict a nude woman who dances between swords that are placed on the ground, while a group of women play music and a few men watch. The setting is Italian, and there have been several interpretations of what exactly the painting depicts.

image:Henryk Siemiradzki - Taniec wśród mieczów (1887).jpg

Category:Paintings by Henryk Siemiradzki

image:Siemiradzki Taniec wsrod mieczy Sotheby.jpeg

image:1881 Siemiradzki Tanz der Schwerter anagoria.JPG

Category:Collection of the Tretyakov Gallery


The Sword Dance

Prompt: Focus on The Sword Dance and explain the Variations.

Siemiradzki made four versions, each with a slightly different composition and colour scheme. One of the versions, originally commissioned by K. T. Soldatenkov, is located at the Tretyakov Gallery in Moscow. Another version was sold at auction in 2011 for 2,098,500 dollars, which was the new record for a Siemiradzki painting. The record was held until 2013, when Un naufragé mendiant was sold for 1,082,500 Pound sterling. All are painted with oil paint on canvas.

image:Henryk Siemiradzki - Taniec wśród mieczów (1887).jpg

Category:Paintings by Henryk Siemiradzki

image:Siemiradzki Taniec wsrod mieczy Sotheby.jpeg

image:1881 Siemiradzki Tanz der Schwerter anagoria.JPG

Category:Collection of the Tretyakov Gallery


The Sword Dance

Prompt: Explain the Variations of this artwork, The Sword Dance.

Siemiradzki made four versions, each with a slightly different composition and colour scheme. One of the versions, originally commissioned by K. T. Soldatenkov, is located at the Tretyakov Gallery in Moscow. Another version was sold at auction in 2011 for 2,098,500 dollars, which was the new record for a Siemiradzki painting. The record was held until 2013, when Un naufragé mendiant was sold for 1,082,500 Pound sterling. All are painted with oil paint on canvas.

image:Henryk Siemiradzki - Taniec wśród mieczów (1887).jpg

Category:Paintings by Henryk Siemiradzki

image:Siemiradzki Taniec wsrod mieczy Sotheby.jpeg

image:1881 Siemiradzki Tanz der Schwerter anagoria.JPG

Category:Collection of the Tretyakov Gallery


The Sword Dance

Prompt: How does The Sword Dance explain its Variations?

Siemiradzki made four versions, each with a slightly different composition and colour scheme. One of the versions, originally commissioned by K. T. Soldatenkov, is located at the Tretyakov Gallery in Moscow. Another version was sold at auction in 2011 for 2,098,500 dollars, which was the new record for a Siemiradzki painting. The record was held until 2013, when Un naufragé mendiant was sold for 1,082,500 Pound sterling. All are painted with oil paint on canvas.

image:Henryk Siemiradzki - Taniec wśród mieczów (1887).jpg

Category:Paintings by Henryk Siemiradzki

image:Siemiradzki Taniec wsrod mieczy Sotheby.jpeg

image:1881 Siemiradzki Tanz der Schwerter anagoria.JPG

Category:Collection of the Tretyakov Gallery


The Sword Dance

Prompt: In The Sword Dance, how is the Variations discussed?

Siemiradzki made four versions, each with a slightly different composition and colour scheme. One of the versions, originally commissioned by K. T. Soldatenkov, is located at the Tretyakov Gallery in Moscow. Another version was sold at auction in 2011 for 2,098,500 dollars, which was the new record for a Siemiradzki painting. The record was held until 2013, when Un naufragé mendiant was sold for 1,082,500 Pound sterling. All are painted with oil paint on canvas.

image:Henryk Siemiradzki - Taniec wśród mieczów (1887).jpg

Category:Paintings by Henryk Siemiradzki

image:Siemiradzki Taniec wsrod mieczy Sotheby.jpeg

image:1881 Siemiradzki Tanz der Schwerter anagoria.JPG

Category:Collection of the Tretyakov Gallery


Venus Victorious

Prompt: Focus on Venus Victorious and explain the abstract.

Venus Victorious (French: Vénus victorieuse) or Venus Victrix is a c.1914 plaster sculpture of Venus by the French artist Pierre-Auguste Renoir, based on his image of the goddess in his painting The Judgement of Paris. It shows her holding the golden apple she has just won by being judged the most beautiful of three goddesses by Paris. It is now in the Museo Soumaya in Mexico City.Renoir had advanced arthritis by the time he produced the work and so was assisted by the Catalan artist Richard Guino, recommended to him by Aristide Maillol. On Renoir's death, his family and Guino's family argued over who owned the sculpture, with the former winning out. When Paul Renoir moved to Canada he took the sculpture with him - on his death his widow sold it and the last painting ever painted by Renoir at auction. On 19 September 2013 it was auctioned again, this time by the Ukrainian Institute of America to the Carlos Slim Foundation, which passed it its current owners.A bronze cast from the sculpture is now in Tate Britain.

Category:Sculptures in the Museo Soumaya


Venus Victorious

Prompt: Explain the abstract of this artwork, Venus Victorious.

Venus Victorious (French: Vénus victorieuse) or Venus Victrix is a c.1914 plaster sculpture of Venus by the French artist Pierre-Auguste Renoir, based on his image of the goddess in his painting The Judgement of Paris. It shows her holding the golden apple she has just won by being judged the most beautiful of three goddesses by Paris. It is now in the Museo Soumaya in Mexico City.Renoir had advanced arthritis by the time he produced the work and so was assisted by the Catalan artist Richard Guino, recommended to him by Aristide Maillol. On Renoir's death, his family and Guino's family argued over who owned the sculpture, with the former winning out. When Paul Renoir moved to Canada he took the sculpture with him - on his death his widow sold it and the last painting ever painted by Renoir at auction. On 19 September 2013 it was auctioned again, this time by the Ukrainian Institute of America to the Carlos Slim Foundation, which passed it its current owners.A bronze cast from the sculpture is now in Tate Britain.

Category:Sculptures in the Museo Soumaya


Venus Victorious

Prompt: How does Venus Victorious explain its abstract?

Venus Victorious (French: Vénus victorieuse) or Venus Victrix is a c.1914 plaster sculpture of Venus by the French artist Pierre-Auguste Renoir, based on his image of the goddess in his painting The Judgement of Paris. It shows her holding the golden apple she has just won by being judged the most beautiful of three goddesses by Paris. It is now in the Museo Soumaya in Mexico City.Renoir had advanced arthritis by the time he produced the work and so was assisted by the Catalan artist Richard Guino, recommended to him by Aristide Maillol. On Renoir's death, his family and Guino's family argued over who owned the sculpture, with the former winning out. When Paul Renoir moved to Canada he took the sculpture with him - on his death his widow sold it and the last painting ever painted by Renoir at auction. On 19 September 2013 it was auctioned again, this time by the Ukrainian Institute of America to the Carlos Slim Foundation, which passed it its current owners.A bronze cast from the sculpture is now in Tate Britain.

Category:Sculptures in the Museo Soumaya


Venus Victorious

Prompt: In Venus Victorious, how is the abstract discussed?

Venus Victorious (French: Vénus victorieuse) or Venus Victrix is a c.1914 plaster sculpture of Venus by the French artist Pierre-Auguste Renoir, based on his image of the goddess in his painting The Judgement of Paris. It shows her holding the golden apple she has just won by being judged the most beautiful of three goddesses by Paris. It is now in the Museo Soumaya in Mexico City.Renoir had advanced arthritis by the time he produced the work and so was assisted by the Catalan artist Richard Guino, recommended to him by Aristide Maillol. On Renoir's death, his family and Guino's family argued over who owned the sculpture, with the former winning out. When Paul Renoir moved to Canada he took the sculpture with him - on his death his widow sold it and the last painting ever painted by Renoir at auction. On 19 September 2013 it was auctioned again, this time by the Ukrainian Institute of America to the Carlos Slim Foundation, which passed it its current owners.A bronze cast from the sculpture is now in Tate Britain.

Category:Sculptures in the Museo Soumaya


Prompt: Focus on Still Life with a Sketch after Delacroix and explain the abstract.

Still Life with a Sketch after Delacroix is an oil painting by the French artist Paul Gauguin. The undated work is thought to have been painted during the artist's 1887 stay in Martinique. It was bequeathed to the Strasbourg museum by Raymond Koechlin (of the Koechlin family) in 1931 and is now on display in the Musée d'Art moderne et contemporain. Its inventory number is 55.974.0.662.The painting depicts a still life of exotic fruit and a large glass bottle on a wooden table. On the wall behind hangs an engraving after a sketch by Eugène Delacroix, depicting The Expulsion of Adam and Eve from Paradise. Gauguin's work thus represents the loss of a traditional Paradise and the gain of new one, represented by the generous nature of a far-away island.

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art


Prompt: Explain the abstract of this artwork, Still Life with a Sketch after Delacroix.

Still Life with a Sketch after Delacroix is an oil painting by the French artist Paul Gauguin. The undated work is thought to have been painted during the artist's 1887 stay in Martinique. It was bequeathed to the Strasbourg museum by Raymond Koechlin (of the Koechlin family) in 1931 and is now on display in the Musée d'Art moderne et contemporain. Its inventory number is 55.974.0.662.The painting depicts a still life of exotic fruit and a large glass bottle on a wooden table. On the wall behind hangs an engraving after a sketch by Eugène Delacroix, depicting The Expulsion of Adam and Eve from Paradise. Gauguin's work thus represents the loss of a traditional Paradise and the gain of new one, represented by the generous nature of a far-away island.

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art


Prompt: How does Still Life with a Sketch after Delacroix explain its abstract?

Still Life with a Sketch after Delacroix is an oil painting by the French artist Paul Gauguin. The undated work is thought to have been painted during the artist's 1887 stay in Martinique. It was bequeathed to the Strasbourg museum by Raymond Koechlin (of the Koechlin family) in 1931 and is now on display in the Musée d'Art moderne et contemporain. Its inventory number is 55.974.0.662.The painting depicts a still life of exotic fruit and a large glass bottle on a wooden table. On the wall behind hangs an engraving after a sketch by Eugène Delacroix, depicting The Expulsion of Adam and Eve from Paradise. Gauguin's work thus represents the loss of a traditional Paradise and the gain of new one, represented by the generous nature of a far-away island.

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art


Prompt: In Still Life with a Sketch after Delacroix, how is the abstract discussed?

Still Life with a Sketch after Delacroix is an oil painting by the French artist Paul Gauguin. The undated work is thought to have been painted during the artist's 1887 stay in Martinique. It was bequeathed to the Strasbourg museum by Raymond Koechlin (of the Koechlin family) in 1931 and is now on display in the Musée d'Art moderne et contemporain. Its inventory number is 55.974.0.662.The painting depicts a still life of exotic fruit and a large glass bottle on a wooden table. On the wall behind hangs an engraving after a sketch by Eugène Delacroix, depicting The Expulsion of Adam and Eve from Paradise. Gauguin's work thus represents the loss of a traditional Paradise and the gain of new one, represented by the generous nature of a far-away island.

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art


Veneration of the Tree of Life

Prompt: Focus on Veneration of the Tree of Life and explain the abstract.

The Veneration of the Tree of Life is a Manichaean fresco in Cave 38 (No. 25 according to Grünwedel) of the Bezeklik Caves in Turpan, Xinjiang, China, that depicts a Manichaean tree of life worship scene. According to the teachings of this religion, there is a tree of life growing in the Kingdom of Light. It has three trunks, which symbolize the East, West, and North of the Kingdom of Light.

Category:Manichaean art of East Central Asia

File:Manichaean picture from cave 25 at Bezeklik Caves.jpg

File:Uyghur Manichaean Wall-Painting at Bezeklik Caves.jpg


Veneration of the Tree of Life

Prompt: Explain the abstract of this artwork, Veneration of the Tree of Life.

The Veneration of the Tree of Life is a Manichaean fresco in Cave 38 (No. 25 according to Grünwedel) of the Bezeklik Caves in Turpan, Xinjiang, China, that depicts a Manichaean tree of life worship scene. According to the teachings of this religion, there is a tree of life growing in the Kingdom of Light. It has three trunks, which symbolize the East, West, and North of the Kingdom of Light.

Category:Manichaean art of East Central Asia

File:Manichaean picture from cave 25 at Bezeklik Caves.jpg

File:Uyghur Manichaean Wall-Painting at Bezeklik Caves.jpg


Veneration of the Tree of Life

Prompt: How does Veneration of the Tree of Life explain its abstract?

The Veneration of the Tree of Life is a Manichaean fresco in Cave 38 (No. 25 according to Grünwedel) of the Bezeklik Caves in Turpan, Xinjiang, China, that depicts a Manichaean tree of life worship scene. According to the teachings of this religion, there is a tree of life growing in the Kingdom of Light. It has three trunks, which symbolize the East, West, and North of the Kingdom of Light.

Category:Manichaean art of East Central Asia

File:Manichaean picture from cave 25 at Bezeklik Caves.jpg

File:Uyghur Manichaean Wall-Painting at Bezeklik Caves.jpg


Veneration of the Tree of Life

Prompt: In Veneration of the Tree of Life, how is the abstract discussed?

The Veneration of the Tree of Life is a Manichaean fresco in Cave 38 (No. 25 according to Grünwedel) of the Bezeklik Caves in Turpan, Xinjiang, China, that depicts a Manichaean tree of life worship scene. According to the teachings of this religion, there is a tree of life growing in the Kingdom of Light. It has three trunks, which symbolize the East, West, and North of the Kingdom of Light.

Category:Manichaean art of East Central Asia

File:Manichaean picture from cave 25 at Bezeklik Caves.jpg

File:Uyghur Manichaean Wall-Painting at Bezeklik Caves.jpg


Veneration of the Tree of Life

Prompt: Focus on Veneration of the Tree of Life and explain the Overview.

This fresco was discovered in the early 20th century and was already badly damaged. In order to facilitate research, the German archaeologist Albert Grünwedel drew a black-and-white line sketch, followed by the French archaeologist Joseph Hackin copied color pictures. : 229–231 The center of the picture depicts a tree of life with three trunks. The tree has luxuriant branches and leaves, fragrant flowers in full bloom, and numerous fruits. There are huge bunches of grapes hanging down from the branches. The whole tree looks like a huge canopy. The pool under the tree may be the "Scented Pond of the Seven Treasures", with two birds in the pool looking at the worshiping crowd. On the left and right sides of the trunk, there were six people saluting the tree of life. Four of them were kneeling in the front and two standing in the back. They are well-dressed and wear richly decorated high crowns. Among them are angels with wings, believers, and other gods. The angel's name, praise, and vows are Uighur, written in the pool and in the sidebar under the painting. Below the incense pond, there is a Uyghur script written in Uighur letters in vertical lines, similar to the prayers: "This is a gathering of guardian deities", "With(?) the image of the peacock. I, Sävit, have written. May there be no sin. [...] May [...] be protected", "Ötükän Ngošakanč (and) Qutluk Tapmïš Qy-a may they be protected... I have humbly done [...] may be at peace. Please forgive my sins.” Although some of the contents of the prayers involve frescoes, these words are not left by the original author. : 231–233

Category:Manichaean art of East Central Asia

File:Manichaean picture from cave 25 at Bezeklik Caves.jpg

File:Uyghur Manichaean Wall-Painting at Bezeklik Caves.jpg


Veneration of the Tree of Life

Prompt: Explain the Overview of this artwork, Veneration of the Tree of Life.

This fresco was discovered in the early 20th century and was already badly damaged. In order to facilitate research, the German archaeologist Albert Grünwedel drew a black-and-white line sketch, followed by the French archaeologist Joseph Hackin copied color pictures. : 229–231 The center of the picture depicts a tree of life with three trunks. The tree has luxuriant branches and leaves, fragrant flowers in full bloom, and numerous fruits. There are huge bunches of grapes hanging down from the branches. The whole tree looks like a huge canopy. The pool under the tree may be the "Scented Pond of the Seven Treasures", with two birds in the pool looking at the worshiping crowd. On the left and right sides of the trunk, there were six people saluting the tree of life. Four of them were kneeling in the front and two standing in the back. They are well-dressed and wear richly decorated high crowns. Among them are angels with wings, believers, and other gods. The angel's name, praise, and vows are Uighur, written in the pool and in the sidebar under the painting. Below the incense pond, there is a Uyghur script written in Uighur letters in vertical lines, similar to the prayers: "This is a gathering of guardian deities", "With(?) the image of the peacock. I, Sävit, have written. May there be no sin. [...] May [...] be protected", "Ötükän Ngošakanč (and) Qutluk Tapmïš Qy-a may they be protected... I have humbly done [...] may be at peace. Please forgive my sins.” Although some of the contents of the prayers involve frescoes, these words are not left by the original author. : 231–233

Category:Manichaean art of East Central Asia

File:Manichaean picture from cave 25 at Bezeklik Caves.jpg

File:Uyghur Manichaean Wall-Painting at Bezeklik Caves.jpg


Veneration of the Tree of Life

Prompt: How does Veneration of the Tree of Life explain its Overview?

This fresco was discovered in the early 20th century and was already badly damaged. In order to facilitate research, the German archaeologist Albert Grünwedel drew a black-and-white line sketch, followed by the French archaeologist Joseph Hackin copied color pictures. : 229–231 The center of the picture depicts a tree of life with three trunks. The tree has luxuriant branches and leaves, fragrant flowers in full bloom, and numerous fruits. There are huge bunches of grapes hanging down from the branches. The whole tree looks like a huge canopy. The pool under the tree may be the "Scented Pond of the Seven Treasures", with two birds in the pool looking at the worshiping crowd. On the left and right sides of the trunk, there were six people saluting the tree of life. Four of them were kneeling in the front and two standing in the back. They are well-dressed and wear richly decorated high crowns. Among them are angels with wings, believers, and other gods. The angel's name, praise, and vows are Uighur, written in the pool and in the sidebar under the painting. Below the incense pond, there is a Uyghur script written in Uighur letters in vertical lines, similar to the prayers: "This is a gathering of guardian deities", "With(?) the image of the peacock. I, Sävit, have written. May there be no sin. [...] May [...] be protected", "Ötükän Ngošakanč (and) Qutluk Tapmïš Qy-a may they be protected... I have humbly done [...] may be at peace. Please forgive my sins.” Although some of the contents of the prayers involve frescoes, these words are not left by the original author. : 231–233

Category:Manichaean art of East Central Asia

File:Manichaean picture from cave 25 at Bezeklik Caves.jpg

File:Uyghur Manichaean Wall-Painting at Bezeklik Caves.jpg


Veneration of the Tree of Life

Prompt: In Veneration of the Tree of Life, how is the Overview discussed?

This fresco was discovered in the early 20th century and was already badly damaged. In order to facilitate research, the German archaeologist Albert Grünwedel drew a black-and-white line sketch, followed by the French archaeologist Joseph Hackin copied color pictures. : 229–231 The center of the picture depicts a tree of life with three trunks. The tree has luxuriant branches and leaves, fragrant flowers in full bloom, and numerous fruits. There are huge bunches of grapes hanging down from the branches. The whole tree looks like a huge canopy. The pool under the tree may be the "Scented Pond of the Seven Treasures", with two birds in the pool looking at the worshiping crowd. On the left and right sides of the trunk, there were six people saluting the tree of life. Four of them were kneeling in the front and two standing in the back. They are well-dressed and wear richly decorated high crowns. Among them are angels with wings, believers, and other gods. The angel's name, praise, and vows are Uighur, written in the pool and in the sidebar under the painting. Below the incense pond, there is a Uyghur script written in Uighur letters in vertical lines, similar to the prayers: "This is a gathering of guardian deities", "With(?) the image of the peacock. I, Sävit, have written. May there be no sin. [...] May [...] be protected", "Ötükän Ngošakanč (and) Qutluk Tapmïš Qy-a may they be protected... I have humbly done [...] may be at peace. Please forgive my sins.” Although some of the contents of the prayers involve frescoes, these words are not left by the original author. : 231–233

Category:Manichaean art of East Central Asia

File:Manichaean picture from cave 25 at Bezeklik Caves.jpg

File:Uyghur Manichaean Wall-Painting at Bezeklik Caves.jpg


Luna Moth Walk I

Prompt: Focus on Luna Moth Walk I and explain the abstract.

Luna Moth Walk I is a 1982–1983 Cor-Ten steel sculpture by Charles Ginnever, installed on the Stanford University campus in Stanford, California, United States. The sculpture is part of Ginnever's "Luna Moth Walk" series; other steel artworks in the series include Luna Moth Walk II (1985) and Luna Moth Walk III (1982). Luna Moth Walk I is also one of three sculptures by Ginnever installed on the Stanford University campus, as of 2003.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures


Luna Moth Walk I

Prompt: Explain the abstract of this artwork, Luna Moth Walk I.

Luna Moth Walk I is a 1982–1983 Cor-Ten steel sculpture by Charles Ginnever, installed on the Stanford University campus in Stanford, California, United States. The sculpture is part of Ginnever's "Luna Moth Walk" series; other steel artworks in the series include Luna Moth Walk II (1985) and Luna Moth Walk III (1982). Luna Moth Walk I is also one of three sculptures by Ginnever installed on the Stanford University campus, as of 2003.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures


Luna Moth Walk I

Prompt: How does Luna Moth Walk I explain its abstract?

Luna Moth Walk I is a 1982–1983 Cor-Ten steel sculpture by Charles Ginnever, installed on the Stanford University campus in Stanford, California, United States. The sculpture is part of Ginnever's "Luna Moth Walk" series; other steel artworks in the series include Luna Moth Walk II (1985) and Luna Moth Walk III (1982). Luna Moth Walk I is also one of three sculptures by Ginnever installed on the Stanford University campus, as of 2003.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures


Luna Moth Walk I

Prompt: In Luna Moth Walk I, how is the abstract discussed?

Luna Moth Walk I is a 1982–1983 Cor-Ten steel sculpture by Charles Ginnever, installed on the Stanford University campus in Stanford, California, United States. The sculpture is part of Ginnever's "Luna Moth Walk" series; other steel artworks in the series include Luna Moth Walk II (1985) and Luna Moth Walk III (1982). Luna Moth Walk I is also one of three sculptures by Ginnever installed on the Stanford University campus, as of 2003.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures


La Gimblette

Prompt: Focus on La Gimblette and explain the abstract.

La Gimblette is one of the most famous paintings by the French painter Jean-Honoré Fragonard and one of the most famous Rococo paintings. Like other paintings by Fragonard, such as The Swing, La Gimblette also has a frivolous component."The lovers' paradise in the middle of the 18th century is no longer ours at the end of the 20th century. It is therefore not surprising that these pictures remain, in some respects, strange to us."

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Explain the abstract of this artwork, La Gimblette.

La Gimblette is one of the most famous paintings by the French painter Jean-Honoré Fragonard and one of the most famous Rococo paintings. Like other paintings by Fragonard, such as The Swing, La Gimblette also has a frivolous component."The lovers' paradise in the middle of the 18th century is no longer ours at the end of the 20th century. It is therefore not surprising that these pictures remain, in some respects, strange to us."

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: How does La Gimblette explain its abstract?

La Gimblette is one of the most famous paintings by the French painter Jean-Honoré Fragonard and one of the most famous Rococo paintings. Like other paintings by Fragonard, such as The Swing, La Gimblette also has a frivolous component."The lovers' paradise in the middle of the 18th century is no longer ours at the end of the 20th century. It is therefore not surprising that these pictures remain, in some respects, strange to us."

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In La Gimblette, how is the abstract discussed?

La Gimblette is one of the most famous paintings by the French painter Jean-Honoré Fragonard and one of the most famous Rococo paintings. Like other paintings by Fragonard, such as The Swing, La Gimblette also has a frivolous component."The lovers' paradise in the middle of the 18th century is no longer ours at the end of the 20th century. It is therefore not surprising that these pictures remain, in some respects, strange to us."

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Focus on La Gimblette and explain the A testimony to the Ancien Régime in several versions.

According to auction sales catalogues and further sources, there were several versions of this painting. Three versions of La Gimblette can be traced back to the 18th century with the help of auction catalogues of that time. Since two of these three versions are considered lost, it cannot be clearly established which was the first version i.e. the original version.The painting is a testimony to the Ancien Régime period. The composition of the painting is full of symbolism, which changes depending on the version of the painting and must be interpreted accordingly.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Explain the A testimony to the Ancien Régime in several versions of this artwork, La Gimblette.

According to auction sales catalogues and further sources, there were several versions of this painting. Three versions of La Gimblette can be traced back to the 18th century with the help of auction catalogues of that time. Since two of these three versions are considered lost, it cannot be clearly established which was the first version i.e. the original version.The painting is a testimony to the Ancien Régime period. The composition of the painting is full of symbolism, which changes depending on the version of the painting and must be interpreted accordingly.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: How does La Gimblette explain its A testimony to the Ancien Régime in several versions?

According to auction sales catalogues and further sources, there were several versions of this painting. Three versions of La Gimblette can be traced back to the 18th century with the help of auction catalogues of that time. Since two of these three versions are considered lost, it cannot be clearly established which was the first version i.e. the original version.The painting is a testimony to the Ancien Régime period. The composition of the painting is full of symbolism, which changes depending on the version of the painting and must be interpreted accordingly.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In La Gimblette, how is the A testimony to the Ancien Régime in several versions discussed?

According to auction sales catalogues and further sources, there were several versions of this painting. Three versions of La Gimblette can be traced back to the 18th century with the help of auction catalogues of that time. Since two of these three versions are considered lost, it cannot be clearly established which was the first version i.e. the original version.The painting is a testimony to the Ancien Régime period. The composition of the painting is full of symbolism, which changes depending on the version of the painting and must be interpreted accordingly.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Focus on La Gimblette and explain the Description.

The painting shows a girl lying under a canopy in a voluminous bed generously furnished with bed linen and playing with a dog. The subject of the painting is also known by the titles: Young girl in her bed, making her dog dance, Girl playing with a dog and Girl with dog.The two protagonists, the girl and the dog, differ slightly in their appearance and behaviour in the different versions of the painting. However, this has a significant influence on the interpretation of the scene in the painting. This applies to the way the girl wears her clothes, whether or not she feeds the dog a gimblette, and how she holds the dog, as well as the position of the dog and the breed of dog. In some of the versions the dog looks more like a spaniel and in others more like a pug or a poodle. In the Besenval version the dog even looks like a poodle with a judge's wig or with the long ceremonial wig of a King's Counsel, which could be seen as a caricature. Edmond and Jules de Goncourt commented accordingly:"At the end of her feet, a curly poodle with the face of a bewigged counsel; and laughing, she digs the soles of her feet into the dog's hair."The dog plays a clear role in the composition of the painting, which, however, varies depending on the version of the painting. The role of the dog must then be interpreted accordingly. In the Munich version, the dog also takes on the task of covering parts of the girl's body.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Explain the Description of this artwork, La Gimblette.

The painting shows a girl lying under a canopy in a voluminous bed generously furnished with bed linen and playing with a dog. The subject of the painting is also known by the titles: Young girl in her bed, making her dog dance, Girl playing with a dog and Girl with dog.The two protagonists, the girl and the dog, differ slightly in their appearance and behaviour in the different versions of the painting. However, this has a significant influence on the interpretation of the scene in the painting. This applies to the way the girl wears her clothes, whether or not she feeds the dog a gimblette, and how she holds the dog, as well as the position of the dog and the breed of dog. In some of the versions the dog looks more like a spaniel and in others more like a pug or a poodle. In the Besenval version the dog even looks like a poodle with a judge's wig or with the long ceremonial wig of a King's Counsel, which could be seen as a caricature. Edmond and Jules de Goncourt commented accordingly:"At the end of her feet, a curly poodle with the face of a bewigged counsel; and laughing, she digs the soles of her feet into the dog's hair."The dog plays a clear role in the composition of the painting, which, however, varies depending on the version of the painting. The role of the dog must then be interpreted accordingly. In the Munich version, the dog also takes on the task of covering parts of the girl's body.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: How does La Gimblette explain its Description?

The painting shows a girl lying under a canopy in a voluminous bed generously furnished with bed linen and playing with a dog. The subject of the painting is also known by the titles: Young girl in her bed, making her dog dance, Girl playing with a dog and Girl with dog.The two protagonists, the girl and the dog, differ slightly in their appearance and behaviour in the different versions of the painting. However, this has a significant influence on the interpretation of the scene in the painting. This applies to the way the girl wears her clothes, whether or not she feeds the dog a gimblette, and how she holds the dog, as well as the position of the dog and the breed of dog. In some of the versions the dog looks more like a spaniel and in others more like a pug or a poodle. In the Besenval version the dog even looks like a poodle with a judge's wig or with the long ceremonial wig of a King's Counsel, which could be seen as a caricature. Edmond and Jules de Goncourt commented accordingly:"At the end of her feet, a curly poodle with the face of a bewigged counsel; and laughing, she digs the soles of her feet into the dog's hair."The dog plays a clear role in the composition of the painting, which, however, varies depending on the version of the painting. The role of the dog must then be interpreted accordingly. In the Munich version, the dog also takes on the task of covering parts of the girl's body.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In La Gimblette, how is the Description discussed?

The painting shows a girl lying under a canopy in a voluminous bed generously furnished with bed linen and playing with a dog. The subject of the painting is also known by the titles: Young girl in her bed, making her dog dance, Girl playing with a dog and Girl with dog.The two protagonists, the girl and the dog, differ slightly in their appearance and behaviour in the different versions of the painting. However, this has a significant influence on the interpretation of the scene in the painting. This applies to the way the girl wears her clothes, whether or not she feeds the dog a gimblette, and how she holds the dog, as well as the position of the dog and the breed of dog. In some of the versions the dog looks more like a spaniel and in others more like a pug or a poodle. In the Besenval version the dog even looks like a poodle with a judge's wig or with the long ceremonial wig of a King's Counsel, which could be seen as a caricature. Edmond and Jules de Goncourt commented accordingly:"At the end of her feet, a curly poodle with the face of a bewigged counsel; and laughing, she digs the soles of her feet into the dog's hair."The dog plays a clear role in the composition of the painting, which, however, varies depending on the version of the painting. The role of the dog must then be interpreted accordingly. In the Munich version, the dog also takes on the task of covering parts of the girl's body.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Focus on La Gimblette and explain the The best known four versions of La Gimblette.

It is unknown how many versions of La Gimblette Jean-Honoré Fragonard painted. There are no records of it. Neither is any of the versions in question signed by Fragonard. Over time, however, four versions of La Gimblette became particularly famous. These four paintings have been differentiated as follows:

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Explain the The best known four versions of La Gimblette of this artwork, La Gimblette.

It is unknown how many versions of La Gimblette Jean-Honoré Fragonard painted. There are no records of it. Neither is any of the versions in question signed by Fragonard. Over time, however, four versions of La Gimblette became particularly famous. These four paintings have been differentiated as follows:

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: How does La Gimblette explain its The best known four versions of La Gimblette?

It is unknown how many versions of La Gimblette Jean-Honoré Fragonard painted. There are no records of it. Neither is any of the versions in question signed by Fragonard. Over time, however, four versions of La Gimblette became particularly famous. These four paintings have been differentiated as follows:

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In La Gimblette, how is the The best known four versions of La Gimblette discussed?

It is unknown how many versions of La Gimblette Jean-Honoré Fragonard painted. There are no records of it. Neither is any of the versions in question signed by Fragonard. Over time, however, four versions of La Gimblette became particularly famous. These four paintings have been differentiated as follows:

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In the context of La Gimblette, explain the The Walferdin version and the The best known four versions of La Gimblette.

It is named after the Walferdin collection. It has been proven that there were two versions of La Gimblette in this collection. The dimensions of the first one, now called the Walferdin version, are: 35.0 cm x 40.5 cm. It has a provenance dating back to the 18th century.This version was sold at auction at the Hôtel Drouot in Paris in 1880 in the sale of the Walferdin collection, lot 62, for FRF1,010. This version is considered lost. The second one is the one now known as the Munich version.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Explain the The Walferdin version about the The best known four versions of La Gimblette of this artwork, La Gimblette.

It is named after the Walferdin collection. It has been proven that there were two versions of La Gimblette in this collection. The dimensions of the first one, now called the Walferdin version, are: 35.0 cm x 40.5 cm. It has a provenance dating back to the 18th century.This version was sold at auction at the Hôtel Drouot in Paris in 1880 in the sale of the Walferdin collection, lot 62, for FRF1,010. This version is considered lost. The second one is the one now known as the Munich version.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In La Gimblette, how is the The Walferdin version of the The best known four versions of La Gimblette explained?

It is named after the Walferdin collection. It has been proven that there were two versions of La Gimblette in this collection. The dimensions of the first one, now called the Walferdin version, are: 35.0 cm x 40.5 cm. It has a provenance dating back to the 18th century.This version was sold at auction at the Hôtel Drouot in Paris in 1880 in the sale of the Walferdin collection, lot 62, for FRF1,010. This version is considered lost. The second one is the one now known as the Munich version.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Describe the characteristics of the The Walferdin version in La Gimblette's The best known four versions of La Gimblette.

It is named after the Walferdin collection. It has been proven that there were two versions of La Gimblette in this collection. The dimensions of the first one, now called the Walferdin version, are: 35.0 cm x 40.5 cm. It has a provenance dating back to the 18th century.This version was sold at auction at the Hôtel Drouot in Paris in 1880 in the sale of the Walferdin collection, lot 62, for FRF1,010. This version is considered lost. The second one is the one now known as the Munich version.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In the context of La Gimblette, explain the The Munich version and the The best known four versions of La Gimblette.

It is named after its current location, the Alte Pinakothek in Munich. The dimensions are: 89.0 cm x 70.0 cm. It has a provenance dating back to the 18th century.This version was sold at auction at the Hôtel Drouot in Paris in 1880 in the sale of the Walferdin collection, lot 61, for FRF7,000. The buyer was none other than the expert in painting of the sale himself, Henri Haro (1855–1911). Later, in 1977, this painting was bought by the HypoVereinsbank and has since been made available to the Alte Pinakothek.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Explain the The Munich version about the The best known four versions of La Gimblette of this artwork, La Gimblette.

It is named after its current location, the Alte Pinakothek in Munich. The dimensions are: 89.0 cm x 70.0 cm. It has a provenance dating back to the 18th century.This version was sold at auction at the Hôtel Drouot in Paris in 1880 in the sale of the Walferdin collection, lot 61, for FRF7,000. The buyer was none other than the expert in painting of the sale himself, Henri Haro (1855–1911). Later, in 1977, this painting was bought by the HypoVereinsbank and has since been made available to the Alte Pinakothek.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In La Gimblette, how is the The Munich version of the The best known four versions of La Gimblette explained?

It is named after its current location, the Alte Pinakothek in Munich. The dimensions are: 89.0 cm x 70.0 cm. It has a provenance dating back to the 18th century.This version was sold at auction at the Hôtel Drouot in Paris in 1880 in the sale of the Walferdin collection, lot 61, for FRF7,000. The buyer was none other than the expert in painting of the sale himself, Henri Haro (1855–1911). Later, in 1977, this painting was bought by the HypoVereinsbank and has since been made available to the Alte Pinakothek.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Describe the characteristics of the The Munich version in La Gimblette's The best known four versions of La Gimblette.

It is named after its current location, the Alte Pinakothek in Munich. The dimensions are: 89.0 cm x 70.0 cm. It has a provenance dating back to the 18th century.This version was sold at auction at the Hôtel Drouot in Paris in 1880 in the sale of the Walferdin collection, lot 61, for FRF7,000. The buyer was none other than the expert in painting of the sale himself, Henri Haro (1855–1911). Later, in 1977, this painting was bought by the HypoVereinsbank and has since been made available to the Alte Pinakothek.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In the context of La Gimblette, explain the The Besenval version and the The best known four versions of La Gimblette.

It is named after its former owner Pierre Victor, Baron de Besenval de Brunstatt. The dimensions are: 70.0 cm x 86.5 cm. It has a provenance dating back to the 18th century. This version is considered lost.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Explain the The Besenval version about the The best known four versions of La Gimblette of this artwork, La Gimblette.

It is named after its former owner Pierre Victor, Baron de Besenval de Brunstatt. The dimensions are: 70.0 cm x 86.5 cm. It has a provenance dating back to the 18th century. This version is considered lost.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In La Gimblette, how is the The Besenval version of the The best known four versions of La Gimblette explained?

It is named after its former owner Pierre Victor, Baron de Besenval de Brunstatt. The dimensions are: 70.0 cm x 86.5 cm. It has a provenance dating back to the 18th century. This version is considered lost.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Describe the characteristics of the The Besenval version in La Gimblette's The best known four versions of La Gimblette.

It is named after its former owner Pierre Victor, Baron de Besenval de Brunstatt. The dimensions are: 70.0 cm x 86.5 cm. It has a provenance dating back to the 18th century. This version is considered lost.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In the context of La Gimblette, explain the The Mühlbacher version and the The best known four versions of La Gimblette.

It is named after M. Georges Mühlbacher in whose collection the painting was at the beginning of the 20th century. The dimensions are: 72.4 cm x 91.0 cm. It has a provenance dating back to the early 20th century.After the death of M. Georges Mühlbacher in 1906, the painting was sold at auction in Paris between 13 May and 15 May 1907, by the Galerie Georges Petit, as part of the sale of the Mühlbacher collection, lot 23, offered as painted by Jean-Honoré Fragonard, for FRF31,500. The buyer was none other than one of the experts in painting of the sale himself, Marius Paulme (1863–1928). In the 1907 sales catalogue of the Galerie Georges Petit, the painting was described as follows:A young woman lies on a bed, half-naked, a muslin cap tied to her blond hair with a blue ribbon. Her head raised on a large pillow, her legs in the air and half-bent, holding a small white dog on the tips of her feet, she offers him a gimblette. Pink curtains are stretched across the background, to the right and left. In the foreground, on a blue stool, a yellow silk skirt. Canvas, height, 72 cm; width, 90 cm. Old frame, in carved and gilded wood, from the Régence period.The Mühlbacher version was sold again at auction on 31 January 2024 by Christie’s in New York, Old Master Sale, lot 67, for US$756,000.The composition of this painting is known in three versions. In addition to the Mühlbacher version, there is also the Krämer version and the Cailleux version. In the Cailleux version the dog is black. The three versions are of uneven quality.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Explain the The Mühlbacher version about the The best known four versions of La Gimblette of this artwork, La Gimblette.

It is named after M. Georges Mühlbacher in whose collection the painting was at the beginning of the 20th century. The dimensions are: 72.4 cm x 91.0 cm. It has a provenance dating back to the early 20th century.After the death of M. Georges Mühlbacher in 1906, the painting was sold at auction in Paris between 13 May and 15 May 1907, by the Galerie Georges Petit, as part of the sale of the Mühlbacher collection, lot 23, offered as painted by Jean-Honoré Fragonard, for FRF31,500. The buyer was none other than one of the experts in painting of the sale himself, Marius Paulme (1863–1928). In the 1907 sales catalogue of the Galerie Georges Petit, the painting was described as follows:A young woman lies on a bed, half-naked, a muslin cap tied to her blond hair with a blue ribbon. Her head raised on a large pillow, her legs in the air and half-bent, holding a small white dog on the tips of her feet, she offers him a gimblette. Pink curtains are stretched across the background, to the right and left. In the foreground, on a blue stool, a yellow silk skirt. Canvas, height, 72 cm; width, 90 cm. Old frame, in carved and gilded wood, from the Régence period.The Mühlbacher version was sold again at auction on 31 January 2024 by Christie’s in New York, Old Master Sale, lot 67, for US$756,000.The composition of this painting is known in three versions. In addition to the Mühlbacher version, there is also the Krämer version and the Cailleux version. In the Cailleux version the dog is black. The three versions are of uneven quality.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In La Gimblette, how is the The Mühlbacher version of the The best known four versions of La Gimblette explained?

It is named after M. Georges Mühlbacher in whose collection the painting was at the beginning of the 20th century. The dimensions are: 72.4 cm x 91.0 cm. It has a provenance dating back to the early 20th century.After the death of M. Georges Mühlbacher in 1906, the painting was sold at auction in Paris between 13 May and 15 May 1907, by the Galerie Georges Petit, as part of the sale of the Mühlbacher collection, lot 23, offered as painted by Jean-Honoré Fragonard, for FRF31,500. The buyer was none other than one of the experts in painting of the sale himself, Marius Paulme (1863–1928). In the 1907 sales catalogue of the Galerie Georges Petit, the painting was described as follows:A young woman lies on a bed, half-naked, a muslin cap tied to her blond hair with a blue ribbon. Her head raised on a large pillow, her legs in the air and half-bent, holding a small white dog on the tips of her feet, she offers him a gimblette. Pink curtains are stretched across the background, to the right and left. In the foreground, on a blue stool, a yellow silk skirt. Canvas, height, 72 cm; width, 90 cm. Old frame, in carved and gilded wood, from the Régence period.The Mühlbacher version was sold again at auction on 31 January 2024 by Christie’s in New York, Old Master Sale, lot 67, for US$756,000.The composition of this painting is known in three versions. In addition to the Mühlbacher version, there is also the Krämer version and the Cailleux version. In the Cailleux version the dog is black. The three versions are of uneven quality.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Describe the characteristics of the The Mühlbacher version in La Gimblette's The best known four versions of La Gimblette.

It is named after M. Georges Mühlbacher in whose collection the painting was at the beginning of the 20th century. The dimensions are: 72.4 cm x 91.0 cm. It has a provenance dating back to the early 20th century.After the death of M. Georges Mühlbacher in 1906, the painting was sold at auction in Paris between 13 May and 15 May 1907, by the Galerie Georges Petit, as part of the sale of the Mühlbacher collection, lot 23, offered as painted by Jean-Honoré Fragonard, for FRF31,500. The buyer was none other than one of the experts in painting of the sale himself, Marius Paulme (1863–1928). In the 1907 sales catalogue of the Galerie Georges Petit, the painting was described as follows:A young woman lies on a bed, half-naked, a muslin cap tied to her blond hair with a blue ribbon. Her head raised on a large pillow, her legs in the air and half-bent, holding a small white dog on the tips of her feet, she offers him a gimblette. Pink curtains are stretched across the background, to the right and left. In the foreground, on a blue stool, a yellow silk skirt. Canvas, height, 72 cm; width, 90 cm. Old frame, in carved and gilded wood, from the Régence period.The Mühlbacher version was sold again at auction on 31 January 2024 by Christie’s in New York, Old Master Sale, lot 67, for US$756,000.The composition of this painting is known in three versions. In addition to the Mühlbacher version, there is also the Krämer version and the Cailleux version. In the Cailleux version the dog is black. The three versions are of uneven quality.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In the context of La Gimblette, explain the Further versions and the The best known four versions of La Gimblette.

The subject of the painting was very popular in the 18th and 19th century. It is therefore no surprise that the composition was imitated by many artists, including the engravers Augustin-Claude-Simon Legrand (1765–1815) and Niclas Lafrensen.Many versions of La Gimblette were sold in the 19th and 20th centuries, painted by different artists. Some of these versions were also sold as painted by Fragonard. Today it is very difficult to tell them apart as the old descriptions in the sales catalogues were not always accurate and the dimensions were often missing. However, there are considerable differences in the quality of the painting in the different versions, which also provides information about whether the painting in question was painted by a master or not.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Explain the Further versions about the The best known four versions of La Gimblette of this artwork, La Gimblette.

The subject of the painting was very popular in the 18th and 19th century. It is therefore no surprise that the composition was imitated by many artists, including the engravers Augustin-Claude-Simon Legrand (1765–1815) and Niclas Lafrensen.Many versions of La Gimblette were sold in the 19th and 20th centuries, painted by different artists. Some of these versions were also sold as painted by Fragonard. Today it is very difficult to tell them apart as the old descriptions in the sales catalogues were not always accurate and the dimensions were often missing. However, there are considerable differences in the quality of the painting in the different versions, which also provides information about whether the painting in question was painted by a master or not.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: In La Gimblette, how is the Further versions of the The best known four versions of La Gimblette explained?

The subject of the painting was very popular in the 18th and 19th century. It is therefore no surprise that the composition was imitated by many artists, including the engravers Augustin-Claude-Simon Legrand (1765–1815) and Niclas Lafrensen.Many versions of La Gimblette were sold in the 19th and 20th centuries, painted by different artists. Some of these versions were also sold as painted by Fragonard. Today it is very difficult to tell them apart as the old descriptions in the sales catalogues were not always accurate and the dimensions were often missing. However, there are considerable differences in the quality of the painting in the different versions, which also provides information about whether the painting in question was painted by a master or not.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Describe the characteristics of the Further versions in La Gimblette's The best known four versions of La Gimblette.

The subject of the painting was very popular in the 18th and 19th century. It is therefore no surprise that the composition was imitated by many artists, including the engravers Augustin-Claude-Simon Legrand (1765–1815) and Niclas Lafrensen.Many versions of La Gimblette were sold in the 19th and 20th centuries, painted by different artists. Some of these versions were also sold as painted by Fragonard. Today it is very difficult to tell them apart as the old descriptions in the sales catalogues were not always accurate and the dimensions were often missing. However, there are considerable differences in the quality of the painting in the different versions, which also provides information about whether the painting in question was painted by a master or not.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

Académie royale de peinture et de sculpture

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Focus on La Gimblette and explain the The Besenval version and the different versions of its engraving.

According to Luc-Vincent Thiéry's description in his guide on the city of Paris, published in 1787, the Baron de Besenval kept his version of La Gimblette in the boudoir in his house on the Rue de Grenelle, the Hôtel de Besenval. After the baron's death in 1791, his heirs sold the entire contents of the Hôtel de Besenval at auction on 10 August 1795. The auctioneer, Alexandre Joseph Paillet, described the painting in the sales catalogue as follows:Honoré Fragonard: A young girl lies on her back in a lavishly lined bed and has fun with a pretty spaniel to whom she offers a gimblette; this very appealing and tasteful work of art has a touching lightness; it was engraved under the title « La Gimblette ». H. 26 in. wide. 32.T.This painting is considered lost. However, there is an engraving based on the Besenval version of the painting, executed by Charles Bertony in 1783 and dedicated to the Baron de Besenval.It is possible that the Baron de Besenval bought La Gimblette from Jean-Baptiste-Pierre Lebrun. Lebrun is known to have traded paintings by Jean-Honoré Fragonard and the baron was one of his best customers. However, the baron could also have bought the painting directly from Jean-Honoré Fragonard, whom he knew personally.It is therefore entirely conceivable that the Baron de Besenval's version was the original version of La Gimblette. It was around the time when Jean-Honoré Fragonard painted La Gimblette, that the baron bought his house on the Rue de Grenelle, the Hôtel Chanac de Pompadour, later renamed Hôtel de Besenval, which then needed to be furnished. And the baron spent lavishly on furniture and works of art. Furthermore, the baron had excellent contacts in the art world and also maintained personal contacts with artists. It is therefore not surprising that the baron was made an Honoraire Amateur of the Académie royale de peinture et de sculpture in 1784.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: Explain the The Besenval version and the different versions of its engraving of this artwork, La Gimblette.

According to Luc-Vincent Thiéry's description in his guide on the city of Paris, published in 1787, the Baron de Besenval kept his version of La Gimblette in the boudoir in his house on the Rue de Grenelle, the Hôtel de Besenval. After the baron's death in 1791, his heirs sold the entire contents of the Hôtel de Besenval at auction on 10 August 1795. The auctioneer, Alexandre Joseph Paillet, described the painting in the sales catalogue as follows:Honoré Fragonard: A young girl lies on her back in a lavishly lined bed and has fun with a pretty spaniel to whom she offers a gimblette; this very appealing and tasteful work of art has a touching lightness; it was engraved under the title « La Gimblette ». H. 26 in. wide. 32.T.This painting is considered lost. However, there is an engraving based on the Besenval version of the painting, executed by Charles Bertony in 1783 and dedicated to the Baron de Besenval.It is possible that the Baron de Besenval bought La Gimblette from Jean-Baptiste-Pierre Lebrun. Lebrun is known to have traded paintings by Jean-Honoré Fragonard and the baron was one of his best customers. However, the baron could also have bought the painting directly from Jean-Honoré Fragonard, whom he knew personally.It is therefore entirely conceivable that the Baron de Besenval's version was the original version of La Gimblette. It was around the time when Jean-Honoré Fragonard painted La Gimblette, that the baron bought his house on the Rue de Grenelle, the Hôtel Chanac de Pompadour, later renamed Hôtel de Besenval, which then needed to be furnished. And the baron spent lavishly on furniture and works of art. Furthermore, the baron had excellent contacts in the art world and also maintained personal contacts with artists. It is therefore not surprising that the baron was made an Honoraire Amateur of the Académie royale de peinture et de sculpture in 1784.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot


La Gimblette

Prompt: How does La Gimblette explain its The Besenval version and the different versions of its engraving?

According to Luc-Vincent Thiéry's description in his guide on the city of Paris, published in 1787, the Baron de Besenval kept his version of La Gimblette in the boudoir in his house on the Rue de Grenelle, the Hôtel de Besenval. After the baron's death in 1791, his heirs sold the entire contents of the Hôtel de Besenval at auction on 10 August 1795. The auctioneer, Alexandre Joseph Paillet, described the painting in the sales catalogue as follows:Honoré Fragonard: A young girl lies on her back in a lavishly lined bed and has fun with a pretty spaniel to whom she offers a gimblette; this very appealing and tasteful work of art has a touching lightness; it was engraved under the title « La Gimblette ». H. 26 in. wide. 32.T.This painting is considered lost. However, there is an engraving based on the Besenval version of the painting, executed by Charles Bertony in 1783 and dedicated to the Baron de Besenval.It is possible that the Baron de Besenval bought La Gimblette from Jean-Baptiste-Pierre Lebrun. Lebrun is known to have traded paintings by Jean-Honoré Fragonard and the baron was one of his best customers. However, the baron could also have bought the painting directly from Jean-Honoré Fragonard, whom he knew personally.It is therefore entirely conceivable that the Baron de Besenval's version was the original version of La Gimblette. It was around the time when Jean-Honoré Fragonard painted La Gimblette, that the baron bought his house on the Rue de Grenelle, the Hôtel Chanac de Pompadour, later renamed Hôtel de Besenval, which then needed to be furnished. And the baron spent lavishly on furniture and works of art. Furthermore, the baron had excellent contacts in the art world and also maintained personal contacts with artists. It is therefore not surprising that the baron was made an Honoraire Amateur of the Académie royale de peinture et de sculpture in 1784.

One of the rare engravings of the limited edition of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony, dedicated to the [[Pierre Victor, baron de Besenval de Brunstatt

File:La Gimblette formerly in the collection of the Baron de Besenval at the Hôtel de Besenval in Paris.jpg

The standard version of the engraving of the ''Besenval'' version of ''La Gimblette'' (''clothed'' version) by Charles Bertony. The execution of this version shows slight differences from the limited edition, dedicated to the Baron de Besenval (see folds in the bed linen). Published in 1783.

L'Intermédiaire des chercheurs et curieux

The ''Mühlbacher'' version of ''La Gimblette,'' as shown in the 1907 sales catalogue of the Galerie [[Georges Petit

Pierre Victor, Baron de Besenval de Brunstatt

Excerpt from the auction catalogue of the sale of the ''Walferdin collection'' at the [[Hôtel Drouot