Enfilade

Pompeo Batoni, Portrait of Thomas William Coke, 1774, installed at Holkham Hall.

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From the press release (3 July) for the exhibition:

The Grand Tour: Destination Italy

Mauritshuis, The Hague, 18 September 2025 — 4 January 2026

The Grand Tour: Destination Italy features masterpieces from three of the UK’s most esteemed stately homes: Burghley House, Holkham Hall, and Woburn Abbey. The art in this exhibition was collected on tours in the 17th and 18th centuries, when young British aristocrats finished their education by spending several years travelling in continental Europe. The highlights will include an impressive portrait of Thomas William Coke by Pompeo Batoni (Holkham Hall), work by Angelica Kauffman (Burghley House), and two grand Venetian cityscapes by Canaletto (Woburn Abbey), all of them on display in the Netherlands for the first time.

Burghley House: Great Collectors

Visitors will encounter two extraordinary travellers from the Cecil family: John Cecil, the 5th Earl of Exeter, and Brownlow Cecil, the 9th Earl. In the 17th century John and his wife made four tours of Europe, collecting pieces for their stately home, Burghley House. They purchased all kinds of things, including furniture and tapestries, but above all they purchased lots of paintings for their grand house. Their trips were far from easy. The couple travelled with their children, servants, and dozens of horses. Grand Tours were not without their challenges. Sick servants would have to be left behind, horses died in the heat, and carriages broke down.

Nathaniel Dance, Portrait of Angelica Kauffman, 1764 (Burghley House).

Angelica Kauffman: Beloved, Talented, and in Demand

In the 18th century their great grandson Brownlow left for Italy after the death of his wife. He had a particular favourite, Angelica Kauffman, a Swiss-Austrian painter who worked in Italy for many years and was the star of her age beloved, talented, and in demand. The exhibition will include a magnificent portrait of her by Nathaniel Dance that shows her looking straight at the viewer. For many, meeting Kauffman was the highlight of their Grand Tour. Vesuvius can be seen in the background of her portrait of Brownlow. No visit to Naples was complete without a climb to the top of this volcano, which was a popular destination in the 18th century—the earliest example of ‘disaster tourism’. Pietro Fabris painted a detailed image of the eruption of Vesuvius in 1767, with a crowd in the foreground watching the awesome power of nature.

Holkham Hall: Home of Art

Thomas Coke, the 1st Earl of Leicester, was just fifteen when he embarked on his six-year Grand Tour (1712–1718). He travelled with a clear goal in mind: to collect art for the future Holkham Hall, which he had built after his return, in Palladian style, with Roman columns, façades resembling temples and strict symmetry. His artworks were displayed to their best advantage in his palatial country home. During his travels, he collected paintings, drawings, sculptures, books, and manuscripts. Coke was regarded as one of the most important 18th-century collectors of the work of Claude Lorrain, the French master of Italian landscapes, including the fabulous View of a Seaport and Amphitheatre. The top item in the exhibition is an impressive portrait of his great nephew Thomas William Coke, painted by Pompeo Batoni, a typical Grand Tour portrait with a Roman statue from the Vatican in the background.

The cover of the catalogue includes a detail of Canaletto’s View of the Grand Canal in Venice, Looking West, with the Dogana di Mare and the Santa Maria della Salute, ca.1730–40 (Woburn Abbey).

Woburn Abbey: Obsession with Venice

The Grand Tour is synonymous not only with Rome, but also with Venice. John Russell, who became the 4th Duke of Bedford in 1735, visited the city on his Grand Tour (1730–31). Like many young aristocrats, he wanted a permanent memento to take home with him, and what could be more appropriate than a cityscape by Canaletto, the leading painter of 18th-century Venice? Eventually, John Russell commissioned an entire series comprising more than 24 paintings, the largest series of Canalettos still in existence. The paintings normally hang in the dining room at Woburn Abbey, the ancient family seat of the Russells.

The Grand Tour

These days many youngsters take a ‘gap year’ after high school, but a Grand Tour could easily last several years. Italy was the ultimate destination, with Rome, Florence, Naples, and Venice as the absolute highlights. En route, travellers would learn about art, architecture and culture, and collect artworks for their stately homes in England, just as we take back souvenirs nowadays. Yet these trips were not always innocent and high-minded. They are also known for their less salubrious distractions, including gambling and lustful pleasures. To keep the young men on the straight and narrow, they would be accompanied by chaperones. Such a ‘private tutor’ would mockingly be known as a ‘bear leader’. From the 18th century onwards, women also increasingly did the Grand Tour, sometimes with their entire family. The Napoleonic Wars (1803–15) brought the tradition of the Grand Tour to an end. In the 19th century, the advent of the steam train changed travel for good.

The catalogue is distributed by ACC Art Books:

Ariane van Suchtelen, The Grand Tour: Destination Italy (Waanders & de Kunst Publishers, 2025), 112 pages, ISBN: 978-9462626461, $45.

Manolo Blahnik, Antonietta, 2005.

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Curator Sarah Grant provides a preview of the exhibition with a focus on scent in a recorded talk from the study day The Museum and the Senses, held at the Barber Institute of Fine Arts (February 2025). From the press release for the exhibition:

Marie Antoinette Style

Victoria & Albert Museum, London, 20 September 2025 – 22 March 2026

Curated by Sarah Grant

Opening in September 2025 at V&A South Kensington, Marie Antoinette Style will be the UK’s first exhibition on the French queen Marie Antoinette (1755–1793). It will explore the origins and countless revivals of the style shaped by the most fashionable queen in history. Marie Antoinette not only contributed to the fashions, interiors, gardens, and fine and decorative arts of her own time, but continued to influence more than two and a half centuries of graphic and decorative arts, fashion, photography, film, and performance. This excessive, lavish, and feminine style will come to life through some 250 objects, including exceptional loans from the Château de Versailles never before seen outside France. Historical and contemporary fashion, alongside audio visual installations and immersive curation, will explore how and why Marie Antoinette, the person, has provided a constant source of inspiration. The exhibition will consider afresh the legacy of this complex figure whose style, youth, and notoriety have contributed to her timeless appeal. The exhibition will also trace the cultural impact of the Marie Antoinette style and her ongoing inspiration for leading designers and creatives, from Sofia Coppola and Manolo Blahnik to Moschino and Vivienne Westwood.

François-Hubert Drouais, Portrait of Marie Antoinette, Queen of France, in a Court Dress, 1773, oil on canvas (London: V&A, Jones Collection, 529-1882).

On display will be exceptionally rare personal items owned and worn by Marie Antoinette including richly embellished fragments of court dress, the Queen’s own silk slippers, and jewels from her private collection. Other highlights include personal effects such as the queen’s dinner service from the Petit Trianon, a selection of her accessories, and intimate items from her toilette case. A scent experience will re-create scents of the court and the perfume favoured by the Queen herself. The exhibition will also feature contemporary clothing including couture pieces by designers such as Moschino, Dior, Chanel, Erdem, Vivienne Westwood, and Valentino, along with costumes made for Sofia Coppola’s Oscar winning Marie Antoinette (staring Kirsten Dunst), as well as shoes designed for the film by Manolo Blahnik.

Sarah Grant, curator of Marie Antoinette Style, said: “The most fashionable, scrutinised, and controversial queen in history, Marie Antoinette’s name summons both visions of excess and objects and interiors of great beauty. The Austrian archduchess turned Queen of France had an enormous impact on European taste and fashion in her own time, creating a distinctive style that now has universal appeal and application. This exhibition explores that style and the figure at its centre, using a range of exquisite objects belonging to Marie Antoinette, alongside the most beautiful fine and decorative objects that her legacy has inspired. This is the design legacy of an early modern celebrity and the story of a woman whose power to fascinate has never ebbed. Marie Antoinette’s story has been re-told and re-purposed by each successive generation to suit its own ends. The rare combination of glamour, spectacle, and tragedy she presents remains as intoxicating today as it was in the eighteenth century.”

Presented chronologically, the first section, Marie Antoinette: The Origins of a Style, begins in 1770 and ends at Marie Antoinette’s execution in 1793. It sets the scene by presenting her life and the story of the beginnings of the style she shaped. On display will be key pieces of furniture, fashion, jewellery, porcelain, and musical instruments from her court, revealing her roles and interests as queen consort. It will consider the way in which she embraced some aspects of enlightenment thought, through her approach to maternity and childhood and support of new technologies. It will also address the ‘let them eat cake’ mythology and mythmaking that surround the queen to this day, drawing on recent research on early modern women, queenship, and celebrity. Highlights in this section include a replica of the Boehmer and Bassenge diamond necklace, from the diamond necklace affair of 1784–85, commissioned for Madame du Barry in 1772. The original necklace was famously stolen, broken up, and sold in Bond Street; the replica will sit alongside the Sutherland diamond necklace from the V&A collection, thought to be made from the original diamonds.

The first section will also display exceptionally rare loans that have never before left France, including personal effects such as the queen’s dinner service from the Petit Trianon, her accessories, and items from her toilette case. Other personal items include the queen’s armchair from the V&A’s collection with Marie Antoinette’s monogram and a jatte téton / bol sein or ‘breast cup’—one of four from the queen’s Sèvres Rambouillet dairy service delivered in 1787—which has led to the persistent though erroneous belief that it was modelled on the queen’s own breast, inspiring modern-day examples. Finally, this section includes the last note Marie Antoinette wrote before she died, on a blank page in her prayer book.

The second section, Marie Antoinette Memorialised: The Birth of a Style Cult, explores the revival of Marie Antoinette’s style in the mid-1800s, at the impetus of Empress Eugénie. A romanticised and sentimental view of the queen took hold, and a phenomenal wave of interest continued throughout the century, peaking again in the 1880s and 1890s. Elements of Marie-Antoinette’s style became the ‘French’ or ‘French Revival’ style—the dominant style in Britain and North America for over fifty years. English collectors sought to acquire objects, furniture, and mementoes associated with the queen, and important collections of eighteenth-century French art were formed. Highlight objects include fancy dress costumes by Worth and other couturiers and photographs by Eugène Atget and Francis Frith.

Marie Antoinette: Enchantment and Illusion, the exhibition’s third section, looks to the late 19th century when the Marie Antoinette style entered a new phase of fantasy, magic, and fairy tales. The queen’s image came to embody escapism and beauty, as well as decadence and debauchery. Objects and artworks will illustrate this shifting narrative through the Art Nouveau and Art Deco periods, including the evening dress designs of couturiers such as Jeanne Lanvin and the Boué Soeurs, alongside luminous watercolour illustrations by Golden Age illustrators Erté, George Barbier, and Edmund Dulac.

The final section, Marie Antoinette Re-Styled, considers the modern and contemporary legacy of the Marie Antoinette style from the 20th century to the present day, in fashion, performance, and pop culture. Couture pieces by designers such as Moschino, Dior, Chanel, Erdem, Vivienne Westwood, and Valentino alongside photographs by Tim Walker and Robert Polidori will highlight Marie Antoinette’s continued influence on fashion globally. Costumes, accessories, film, and stills will bring to life the queen’s enduring legacy in film, stage, and even music videos. Artist Beth Katleman and designer Victor Glemaud will also showcase contemporary works inspired by elements of Marie Antoinette’s timeless style and period.

Support for the V&A is more vital than ever. Marie Antoinette Style is sponsored by Manolo Blahnik, with support from Kathryn Uhde.

Sarah Grant, ed., with forewords by Antonia Fraser, Manolo Blahnik, and Sofia Coppola, Marie Antoinette Style (London, V&A Publishing, 2025), 304 pages, ISBN: 978-1838510541, £40 / $70.

A second iteration of the exhibition on view previously at the Musée Carnavalet:

1793–1794: Un Tourbillon Révolutionnaire

Musée de la Révolution française, Vizille, 27 June — 23 November 2025

Entre 1793 et 1794, « l’An II de la République » marque les débuts mouvementés de la toute première république française. Des idéaux de la Révolution aux grands procès politiques, de la liesse aux insurrections populaires, les premiers mois du nouveau régime emportent tout sur leur passage, jusqu’au quotidien des Français. Un véritable tourbillon révolutionnaire, nourri d’espoirs et de peurs.

Cette exposition revient sur des mois décisifs pour l’histoire de France : l’arrestation des Girondins, l’assassinat de Marat, l’exécution de Marie-Antoinette jusqu’à la chute de Robespierre. Voici donc « la Terreur », décryptée à la lumière des recherches historiques les plus récentes.

L’exposition 1793–1974: Un tourbillon révolutionnaire est une adaptation de l’exposition Paris 1793–1794: Une année révolutionnaire conçue par le musée Carnavalet – Histoire de Paris.

Alexandre-Évariste Fragonard, Pastorale / Homère et les Bergers, 1810; graphite, brown wash, black ink, and white highlights on beige paper; 55 × 88 cm (Louvre, INV 26657).

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The exhibition presents some sixty drawings by Jean-Honoré Fragonard, his wife Marguerite Gérard, and their son Alexandre-Évariste from the collections of the Louvre:

Les Traits du Génie: Dessins du Louvre par Jean-Honoré Fragonard,

Alexandre-Évariste Fragonard, et Marguerite Gérard

Musée International de la Parfumerie, Grasse, 27 June — 26 October 2025

Cet été, le Musée International de la Parfumerie vous invité à découvrir l’œuvre de Jean-Honoré Fragonard, l’un des plus grands peintres du XVIIIe siècle, à travers une exposition exceptionnelle. Né à Grasse en 1732, Fragonard a marqué son époque par son talent unique, tout en restant profondément attaché à sa ville natale. Bien que Paris ait été son principal lieu de vie, son mariage avec Marie-Anne Gérard, issue d’une famille de parfumeurs grassois, ainsi que ses séjours réguliers à Grasse, témoignent de l’attachement de l’artiste à sa ville d’origine.

L’exposition propose une sélection de plus de soixante dessins de Fragonard, jamais exposés à Grasse et rarement montrés ailleurs. Ces œuvres, provenant des collections du département des Arts Graphiques du musée du Louvre, offrent un regard privilégié sur le processus créatif de Fragonard. Que ce soit des autoportraits, des souvenirs de voyages, des études de figures ou des projets d’illustration, les dessins de Fragonard nous donnent un aperçu de l’étendue du génie de l’artiste et offrent au visiteur grassois une proximité inédite avec l’essence de son œuvre.

Fragonard n’a pas seulement marqué l’histoire de la peinture. Son influence s’étend également aux arts décoratifs, et notamment à l’univers de la parfumerie, un domaine dans lequel Grasse occupe une place centrale. Pour illustrer ce lien, l’exposition présente une série de flacons de parfum en porcelaine du XVIIIe siècle, prêtés par la société Givaudan. Que vous soyez passionné d’art, d’histoire ou simplement curieux, cette exposition est une occasion unique de plonger dans l’univers de Jean-Honoré Fragonard, de découvrir ses œuvres et d’explorer les liens entre son art et l’univers du parfum.

From Silvana:

Laure Decomble, Olivier Quiquempois, Xavier Salmon, and Martine Uzan, Les Traits du Génie: Dessins de Jean-Honoré Fragonard, Alexandre-Évariste Fragonard et Marguerite Gérard (Milan: Silvana Editoriale, 2025), 200 pages, ISBN: 978-8836661534, €29.

c o n t e n t s

• Grasse et Jean-Honoré Fragonard — Olivier Quiquempois

• Crayonnages et lavis de Fragonard: Quelques considérations sur certains amateurs et collectionneurs — Xavier Salmon

Oeuvres
• Les Fragonard, une famille d’artistes — Laure Decomble
• Voyager et apprendre — Laure Decomble
• Regarder et inventer — Xavier Salmon
• Fragonard, illustrateur — Olivier Quiquempois
• Les Flacons de la Séduction — Martine Uzan

English Texts
Bibliographie

Now on view at the Fragonard Museum in Grasse (with more information available here, pp. 124–27):

Adèle de Romance: A Liberated Painter / Peintre Libre

Musée Fragonard, Grasse, 14 June — 12 October 2025

Curated by Carole Blumenfeld

After dedicating the summer 2023 exhibition to the Lemoine sisters and their cousin Jeanne Élisabeth Chaudet, the Jean-Honoré Fragonard Museum will celebrate Adèle de Romance in 2025. This painter, whose life was as brilliant as it was tumultuous, embodies all the opportunities that the end of the 18th century and the beginning of the 19th century offered to talented artists.

Born from an illegitimate union between the Marquis Godefroy de Romance, Adèle de Romance (1769–1846) was eventually recognized and adopted by her father at the age of 8. Her younger half-sister, whose personal life perfectly met their father’s expectations, received many signs of trust from him. Despite this, Adèle de Romance now had a name and enjoyed one of the largest collections of Nordic and French paintings, including many works by Fragonard. Concerned with her education, the Marquis de Romance guided all her personal choices, from her passion for painting to the birth of her first child at the age of 18. Adèle then married the miniaturist François Antoine Romany, a mismatched union whose sole purpose was to give her a status. When her father left France in August 1791 to defend the counter-revolutionary ideas that mattered to him, Adèle de Romance was forced to conceal her partly aristocratic origins and to live… by her brushes.

After a divorce, which she willingly kept her married name, she began a series of small portraits of prominent figures. She took advantage of the fame of her subjects and, for four decades, played with a multitude of surnames, embracing public exposure and presenting dozens of works. Witnessing the upheavals of her time, she made the most of the political and social context that favored portraiture. Better than many other artists, she succeeded in capturing the desire for reinvention of the personalities she painted, presenting a gallery of portraits that reflected France. Adèle de Romance participated in a time when images were about to play an unprecedented role. Portraits, a rather insignificant genre in a monarchy—where only one person matters and everyone else is nothing—acquired a new level of interest in a Republic. It then became a vector of virtues, talents, services, and memories.

Adèle de Romance did not have the privilege of joining the royal collections, the birthplace of today’s national collections. Paying tribute to this painter who managed to live from her art first required finding her works. Thus, with the exception of the rich corpus preserved in the collections of the Comédie-Française, the paintings of Adèle de Romance held in French public collections are not only rare but rarely exhibited. Many of her portraits remained with the descendants of the sitters, who kindly allowed them to be displayed for the Grasse exhibition, thus honoring this woman who, very early on, understood that culture and artistic talents were a remarkable passport to being accepted, regardless of her origins, and having a voice in a world dominated by men.

From Silvana:

Carole Blumenfeld, Adèle de Romance, dite Romany, 1769–1846 (Milan: Silvana Editoriale, 2025), 232 pages, ISBN: 978-8836661121, €35.

Adèle de Romance appartient à cette caste ténue de femmes qui, sans jamais se poser en séditieuses, surent hanter les lisières du monde établi et frayer, dans les anfractuosités d’un ordre contraignant, un sentier d’autonomie patiemment conquis. Douée d’un discernement affûté et d’un sens exquis de la conjoncture, la portraitiste sut, avec adresse et aplomb, tirer parti des ondulations du temps et des vents favorables, pour jouer des équivoques de sa propre identité et en faire un atout, pour ses modèles et pour elle-même. Adèle de Romance devint pleinement maîtresse de son destin en peignant les visages d’autrui, qu’elle signait parfois de son nom de naissance, « de Romance », mais le plus souvent : « Romany », « Rom… », « Romanée », « de Romany » ou « DR »… Ces jeux de recomposition nominale, souples et ductiles, savamment dosés, relèvent d’une poétique du nom propre, où l’identité se dit autant par esquive que par assertion.

c o n t e n t s

Philippe Costamagna — Preface

Carole Blumenfeld — Peindre pour s’appartenir: Marie Jeanne de Romance, Adèle de Romance, dite Romany, Adèle Romanée, Adèle Romany-de-Romance, AR

Carole Blumenfeld — Catalogue des Oeuvres Exposées

Arbre généalogique d’Adèle de Romance
Chronobiographie
Liste des œuvres présentées aux Salons
Annexes
Index
Bibliographie