Jean Honoré Fragonard (1732-1806) studied under Boucher, Greuze, and Chardin, and is usually considered the successor of Boucher. In 1752 he was given Grand Prize for Painting. He was a favorite painter of Madame Du Barry, for whom he did a great deal of work. [Sidenote: 70] AUBUSSON, LATE XVIII CENTURY [Sidenote: _Wool and Silk._ H. 8 _ft._ 10 _in._ W. 6 _ft._ 6 _in._ ] AU BORD DU MER: _In an oval panel are peasants landing from a rowboat. In the harbor under a cliff is a sailing vessel. In an encadrement of red and blue flowers and ribbons on a gray ground._ [Sidenote: Formerly in the Vaffrin Collection, Bordeaux.] The central panel is after Vernet, who was particularly famous for his port scenes. The encadrement is unusually rich and delicate. [Sidenote: Lent by _Wildenstein & Company_.] Claude-Joseph Vernet (1714-1789) first studied under his father as a decorative painter of wall and furniture panels. Afterward he studied under Bernardino Fergiori in Rome to be a marine painter. In 1735 he was received by the Academy. His most famous paintings, of the seaports of France, are in the Louvre. [Sidenote: 71] AUBUSSON, XVIII CENTURY [Sidenote: _Wool._ H. 9 _ft._ W. 5 _ft._ ] CHINESE GROTESQUE: _A Chinaman, fantastically dressed, stands between two tall tropical trees. On a pale-blue ground._ [Sidenote: Lent by _A. J. Halow_.] The piece is a delightful example of the taste for _chinoiseries_ which the Pompadour fostered for the benefit of the French East India Company, in which she was interested, and which taste was eagerly followed by the frivolous and bored French court, always seeking novelty. [Sidenote: 72] AUBUSSON, XVIII CENTURY [Sidenote: _Wool and Silk._ H. 4 _ft._ 3 _in._ W. 3 _ft._ 9 _in._ ] ARMORIAL: _On a red ground, two angels support a shield. Border of scrolls._ This crisp and delicate little armorial is a fine example of the best quality of work done at Aubusson in the late XVIIIth century. The clear drawing on the deep-red background makes a vivid piece of decoration. [Sidenote: Exhibited: _Detroit Museum of Fine Arts_, 1919.] [Sidenote: Lent by _Dikran K. Kelekian_.] The rendition of a coat of arms in tapestry is difficult, because the decorative value of heraldic devices depends almost entirely on the beauty of the line-drawing, and tapestry, because of the character of the weave and the surface, is not a good medium for clean lines. In the earlier periods, therefore, the shield was usually made incidental to a design better adapted to tapestry (cf. No. 9). It was only well into the XVIIIth century that the bearings could be woven delicately enough to let them stand alone. [Sidenote: 73] IMPERIAL RUSSIAN TAPESTRY WORKS, ST. PETERSBURG, 1811 [Sidenote: _Wool and Silk._ H. 9 _ft._ 4 _in._ W. 6 _ft._ 7 _in._ ]