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| Abraham van der Hart Haarlem Reception Room (Italian marble chimneypiece, Flemish carpet from Tournai, Dutch furniture from Amsterdam, French hangings from Lyon, English chandelier and candelabras) ca. 1793-95 oil on panel Rijksmuseum, Amsterdam |
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| Giovanni Battista Piranesi (designer) Pier Table supported by Winged Chimeras (from the state apartments of a papal nephew) ca. 1768 oak, limewood, marble Minneapolis Institute of Art |
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| Jean-Joseph Baléchou after Juste-Aurèle Meissonnier St. Aignan guérissant Agrippin 1747-50 etching of bas-relief in silver for the Church of St. Sulpice, Paris Rijksmuseum, Amsterdam |
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| Isaac de Moucheron Garden with Classical Buildings and Fountain 1743 watercolor Cooper Hewitt, Smithsonian Design Museum |
Rococo
Heavy draperies, stiff and silvergrey;
Busts of gods, that stare forth vacantly
From blind eyes; rich convoluted clocks;
Porcelain figures droll in shepherds' smocks,
Set on gilt-legged tables, marble-topped;
Ebon cats whose green eyes, never dropped,
Blink, desirous, from the chimney-piece;
Curtained small causeuses, as soft as fleece;
Gay gilt chairs, and flowered tapestry;
And upon a spinet, open, lies
That most exquisite of melodies –
The gavotte, whose yellowing margins show,
On the right-hand page, a bit below,
The curved dent of a marquise's nail.
Her high-waisted little body sat
Here, the while she played, lovely and pale,
With arched brows, large blue mendacious eyes,
Powdered hair she never dared to pat,
Before gentlemen who faithfully
Held to an houri heaven upon earth;
Whose lace-ruffled wrists moved gracefully,
Hovering nicely over satin vests
To adjust frilled jabots on their breasts;
Or who bent slim canes in dreamy mirth –
Silver-knobbed, marked with enameled crests;
Who with oriental perfumes scented
Delicate adventures, and took pains
To dismiss with adroit tenderness
The old god, buried without distress,
As with languid graces, well contented,
They tripped round the grave where he must rest. . . .
Who will open these locked gates to me,
On this world of piquancies and pander,
Madrigals and pale nuance and slander?
– Richard Schaukal, translated from German by Babette Deutsch and Avrahm Yarmolinsky, published in Poetry (Chicago) in December, 1922
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| Jean-Étienne Liotard after Gianlorenzo Bernini Apollo and Daphne (after marble statue group in Galleria Borghese, Rome) 1736 pastel Rijksmuseum, Amsterdam |
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| Cornelis Joseph d'Heur Hippomenes and Atalanta (after plaster cast of marble statue group) before 1762 drawing Rijksmuseum, Amsterdam |
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| Gilles Demarteau after Romain Girard Rocaille Cartouche ca. 1761-69 etching Rijksmuseum, Amsterdam |
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| Gilles Demarteau after Romain Girard Rocaille Cartouche ca. 1761-69 etching Rijksmuseum, Amsterdam |
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| Gilles Demarteau after François Boucher Head of a woman before 1776 etching Rijksmuseum, Amsterdam |
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| Gilles Demarteau after Raphael Head of a man with streaming hair before 1776 etching Rijksmuseum, Amsterdam |
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| Ubaldo Gandolfi Martyrdom of St Eusebius ca. 1781 drawing Philadelphia Museum of Art |
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| Jean-François Janinet after Jean-Baptiste André Gautier-d'Agoty Marie Antoinette 1777 etching and engraving, printed in colors from multiple plates Rijksmuseum, Amsterdam |
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| Juste-Aurèle Meissonnier Design for porcelain writing-set (two views) 1748 etching Cooper Hewitt, Smithsonian Design Museum |
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| Jacob More Roman Ruins ca. 1773-93 watercolor Tate Gallery |
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| Jan Swart Académie ca. 1779-94 drawing Rijksmuseum, Amsterdam |
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| Anton Raphael Mengs Figure of Asclepius for Hercules fresco, Palacio Real, Madrid 1762 drawing Getty Museum, Los Angeles |