The Story of Cupid and Psyche: An Old Philosopher Leads the Wandering Psyche to His Rustic Home
(In preparation for one of the Beauvais Tapestries, 1734–1737)
Oil on canvas in grisaille softened with blue grey, celadon, to grey,
490 x 523 mm (19 3⁄16 x 20 9⁄16 in)

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Provenance: Lot 33, the posthumous sale of Jean-Baptiste Gérard de Livry, premier commis du Duc de la Vrillière, hôtel du Girardin, Versailles, 13th January ff. 1772; according to family tradition, in the 19th century collection of Eudoxe Marcille (1814–1890); 1982-Lot 20 in the catalogue of French Paintings 1600–1900, from four Galleries in Paris, at Paul Rosenberg, New York; 2003, with Fabius Frères in Paris; 2008 – present, Collection of Horace W. Brock. Much gratitude to Alastair D. Laing for help in a full understanding of this painting.

Publication: Splendor and Elegance, European Decorative Arts and Drawings from the Horace Brock Collection, MFA Publications, Museum of Fine Arts, 2009, in the essay by Clifford S. Ackley, The Intuitive Eye, pages 87ff, illustrated #94, page 98.

Ruggiero Leaving Angelica After She Disappears
Brown and gray wash over black chalk
395 x 275 mm (15 9/16 x 10 13/16 in)

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Provenance: Roederer Collection, Rheims; Agnew's, London.

Published: Fragonard, Drawings for Ariosto, Pantheon, 1945, plate 71.
Splendor and Elegance: European Decorative Arts and Drawings from the Horace Wood Brock Collection, MFA Publications, Museum of Fine Arts, Boston, page 88, illustration #84.

Two Women appearing to a Woman near a Burning Altar
Pen and Sepia ink, with brushed grey wash,257 x 362 mm (10 ⅛ x 14 ¼ in)

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Ovid’s Metamorphosis, Book 8: 260-328

“King Oeneus of Calydon, they say, made offerings, from the successful harvests of a full year, of the first fruits of the crops to Ceres, of wine to Bacchus, ‘the deliverer from care’, of libations of flowing oil, from the olives, to golden Minerva. The honour they desire was paid to all the gods, beginning with the rural deities: only the daughter of Latona’s altar was passed by: neglected, it is said, and left without its incense. Anger even touches the gods. ‘I shall not suffer this without exacting punishment’ she cried ‘and, though not honoured, it will not be said that I was un-avenged.’”

Baroque Brilliance - Castiglione: draughtsman and graphic artist

https://www.youtube.com/embed/fuVK1LS63TM?autoplay=1

Study for the Bottom Half of the Altar of St. George in Braida
Pen, brown ink and wash, heightened with white, on blue paper
281 x 355 mm (11 1/8 x 13 7/8 in)

Shepherds and Animals in a Landscape
Pen and brown ink, wash and white heightening on yellow-ochre prepared paper. Traces of black chalk. Laid down in the eighteenth century.
Inscribed Carlo Antonio Tavella inv. 1730 in black chalk at the lower centre on the recto of the old mount
371 x 486 mm (14 ⅝ x 19 ⅛ in)

Madonna and Child with Saints
Pen and brown ink with wash heightened with white gouache over traces of red chalk on reddish-brown prepared paper; tracing of the reversed composition in red chalk by another hand (verso)
Inscribed: Passeri in brown ink, top centre (verso)
223 x 173 mm (8 ¾ x 6 ¾ in)