Of the work of Gavarni we have unfortunately no example illustrated; a fan by him appeared at South Kensington in 1870, exhibited by the Comtesse de Nadaillac. Of other fans enlivened by his light and humorous touch, two, says Blondel, have become famous: the first was commissioned by Duvelleroy for Queen Victoria: the second, estimated of perhaps greater value, formed part of the Empress Eugénie’s rich collection. Mirecourt, in his biography of Gavarni, tells the following anecdote. Upon an occasion of the contents of his fine portfolios being praised, he cried, ‘_Allons donc!_ in drawing I have never done but one thing passable; it is a fan for the Empress.’ Gavarni visited this country in 1847, but does not appear to have recommended himself personally to his hosts. He may be counted fortunate in the fact of his having, in spite of a certain spirit of contradiction in his character, impressed the value of his work upon his fellows during his lifetime. Great men, like angels, but too often come upon us unawares, and it is only upon their leave-taking, or after, that we become sensible of the loss of a gracious presence. The delicate and refined art of Jean Louis Hamon was especially suited to the fan. For a considerable period he was associated with the Royal Porcelain works at Sèvres, producing a number of designs of that light fanciful character with which we are familiar in his paintings. He continued this style of composition, says M. Walther Fol, but applied it to the decoration of fans, in which he excelled. ‘In every sovereign court they were a coveted possession, and if he had desired to supply all demands he could have produced nothing besides.’ The subjects of these delicate fancies in almost every instance have reference to love or marriage. There were Loves who shot arrows transfixing two hearts at once; there was Love with outspread wings, seated upon the raised end of a see-saw, while Hymen, crowned with flowers, held him on high by his weight. A dress fan made by Alexandre, and painted by Hamon with the subject of ‘An Entomologist,’ and groups of flowers on either side by a well-known flower painter, was presented to the Countess Granville by the foreign commissioners of the Universal Exhibition, Paris, October 26, 1867. The stick is of ivory, carved by C. Rambert with dancing Cupids and foliage, enriched with ormolu and jewelled turquoise. The gift was accompanied by a graceful letter from Mr. (afterwards Sir Henry) Cole, the British Commissioner, referring to the fan as a work of fine art by ‘two distinguished French painters and one sculptor.’ It is, however, more valuable as a souvenir of an interesting occasion, and for the beautiful carving of the stick, than as a representative example of Hamon’s work. In 1862, J. L. Hamon journeyed to Rome, where he painted ‘L’Aurore,’ exhibited in Paris in the following year, and purchased by the Empress Eugénie. He died in 1874 at the early age of fifty-three.