Portrait of Marie Gabrielle de Gramont, Comtesse de Caderousse

Alternate TitleMde la Comtesse de Grammont Caderousse

Alternate TitlePortrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse

Artist Elisabeth Louise Vigée Le Brun (French, 1755 - 1842)

Date1784

MediumOil on oak panel

DimensionsUnframed: 41 3/8 × 29 7/8 inches (105.09 × 75.88 cm)
Framed: 53 × 41 3/4 inches (134.62 × 106.05 cm)

Credit LinePurchase: William Rockhill Nelson Trust through exchange of the bequest of Helen F. Spencer and the generosity of Mrs. George C. Reuland through the W. J. Brace Charitable Trust, Mrs. Herbert O. Peet, Mary Barton Stripp Kemper and Rufus Crosby Kemper Jr., in memory of Mary Jane Barton Stripp and Enid Jackson Kemper, and Mrs. Rex. L. Diveley

Object number86-20

Signedl.r. corner: "L. se LeBrun f. 1784"

On View

On view

Gallery Location

Collections

European Art

Terms

DescriptionA young woman is shown out of doors, the background a cerulean blue without any indication of a landscape. The three-quarter-length figure is shown in profile to the right, and she stands next to or up against a stone ledge, like a tabletop, upon which she has just set a large, woven straw basket filled with peaches and grapes which she, supposedly, has just gathered in the fields. She turns her head and gazes serenely outwards at the viewer, a half-smile barely parting her lips and revealing her front teeth. Her costume, though considerably idealized, is that of a shepherdess. On her head is a wide-brimmed straw hat, kept in place by a voluminous chiffon fichu that envelops her tumbling dark hair; the ends are rather loosely tied up in a knot at the woman's bosom. She wears a scarlet skirt and black velvet bodice over a white silk chemise that emerges from the bottom of the right sleeve and also at the shoulder of the same arm, where it is enlivened by three thickly painted bows that match the skirt in color.Exhibition History

Exhibition History

Salon de 1785, Salon du Louvre, Paris, August 25-end of September, 1785, no. 91, as M.^de la Comtesse de Grammont [sic] Caderousse.

French 18th-Century Painting, Newhouse Galleries, New York, closed October 14, 1985, unnumbered.

A Bountiful Decade: Selected Acquisitions 1977-1987, The Nelson-Atkins Museum of Art, Kansas City, October 14-December 6, 1987, no. 66, as Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse.

Vigée Lebrun: Woman Artist in Revolutionary France, Grand Palais, Paris, September 23, 2015-January 11, 2016; Metropolitan Museum of Art, New York, February 15-May 15, 2016; National Gallery of Canada, Ottawa, June 10-September 11, 2016, no. 29, as The Comtesse de Gramont Caderousse Gathering Grapes (New York and Ottawa only).

Gallery Label

Vigée Le Brun was among the best known women painters of the 18th century. Like the Duchesse de Caderousse, who is portrayed in this portrait, she was charming and pretty, and became a personal friend of the French Queen Marie Antoinette (1755-1793). In her memoirs, Le Brun recalls persuading the Duchesse not to wear powder so as to show off her ebony black hair. In her role here as a peasant girl with a basket of fruit, the Duchesse reflects the fashion of rustic simplicity introduced by Marie Antoinette herself in her model farm at Versailles, the seat of the French court.

Provenance

Probably commissioned from the artist by Marie Gabrielle de Gramont, comtesse de Caderousse (née de Sinety, 1761-1832), and/or her husband, André Joseph Hippolyte de Gramont-Vachères, comte de Caderousse (1761-1817), Château de Caderousse, Caderousse, France, 1784-April 24, 1832 [1];

Probably inherited by her brother, André Louis Marie de Sinety, 2nd marquis de Lurcy-Lévis (1758-1832), Lurcy-Lévis and Paris, France, 1832 [2];

Probably by descent to his son, André Louis Marie Théogène, 3rd marquis de Sinety (1788-1846), France, 1832-November 8, 1846 [3];

Probably inherited by his brother, André Louis Woldemar Alphée, 4th marquis de Sinety (1791-1868), Château de Misy, Misy-sur-Yonne, France, 1846-January 13, 1868;

By descent to his son, Alexandre-André-Marie-Elzéar, 5th marquis de Sinety (1820-1905), Château de Misy, Misy-sur-Yonne, France, 1868-April 15, 1905;

By descent to his son, Armande-Marie-Albert, 6th marquis de Sinety (1852-1923), Château de Misy, Misy-sur-Yonne, France, 1905-November 29 or 30, 1923;

By descent to his son, Henry-André-Marie-Anatole, 7th marquis de Sinety (1887-1980), Château de Misy, Misy-sur-Yonne, France, 1923-ca. 1979;

By descent to his son, André-Cœur-Marie-Gérard, 8th marquis de Sinety (1924-2013), Château de Misy, Misy-sur-Yonne, France, ca. 1979-1984 [4];

Sold by the latter at Importants Tableaux Anciens et Modernes, Nouveau Drouot, Paris, November 28, 1984, lot 21, as La Duchesse de Gramont-Caderousse en vendangeuse, and purchased by Newhouse Galleries and Stair Sainty Matthiesen on joint account, New York, 1984-1986;

Purchased from Newhouse Galleries and Stair Sainty Matthiesen by The Nelson-Atkins Museum of Art, Kansas City, MO, 1986.

NOTES:

[1] The name Gramont is sometimes spelled with a second m, as it appears in the Salon catalogue. However, genealogical research supports the spelling we have adopted; see letter from Joseph Baillio to Roger Ward, August 25, 1986, NAMA curatorial files. The name Sinety appears both with and without an accent sign over the e in the literature. Since the sitter’s birth certificate omits any accents, we have done so as well. Also the sitter’s first name is sometimes hyphenated, but again, since the birth certificate omits accents, we have done so as well; see documentation in NAMA curatorial files. . Although Marie Gabrielle is often described as a duchess in the literature, she did not attain this title until the death of her father-in-law, Marie Philippe Guillaume de Gramont-Vachères, in 1800. The portrait’s title and provenance thus reflect the sitter’s social status at the time of commissioning.

[2] The earliest documentation of this portrait’s provenance within the Sinety family dates to 1895, at which time it belonged to the 5th marquis de Sinety. However, genealogical research strongly suggests that the painting passed to André Louis Marie de Sinety, Marie Gabrielle’s brother, at the time of her death. As he passed away on October 18, 1832, he only owned the painting for six months.

[3] André Louis Marie Théogène de Sinety never married and had no children. Documentation received from Newhouse Galleries and Stair-Sainty Matthiesen at the time of purchase indicated that he resided at the Château de Misy. However, it was his younger brother, André Louis Woldemar Alphée, who married the sole heir to this château, Alexandrine Marie Joséphine de Brion, in 1819. See Maurice Pignard-Péguet, Seine-et-Marne: Histoire Générale Illustrée des Départements depuis les temps les plus reculés jusqu’à nos jours (Orléans: Auguste Gout et Cie, 1911), 384-385.

[4] Documentation received from Newhouse Galleries and Stair-Sainty Matthiesen at the time of purchase indicated that the painting has passed to the 9th marquis de Sinety before being sold at auction. However, it was the 8th marquis who put it up for sale after being contacted by a scholar seeking to publish the portrait as a comparative figure in an exhibition catalogue. See letter from Joseph Baillio to Brigid Boyle, July 22, 2014, NAMA curatorial files.

Published References

Explication des Peintures, Sculptures et Gravures de Messieurs de l’Académie Royale, Dont l’Exposition a été ordonné, suivant l’intention de Sa Majesté, par M. le Comte de la Billardrie d’Angiviller, Conseiller du Roi en ses Conseils, Mestre-de-Camp de Cavalerie, Chevalier de l’Ordre Royal et Militaire de S. Louis, Commandeur de l’Ordre de S. Lazare, Gouverneur de Rambouillet, Intendant du Jardin du Roi, Directeur et Ordonnateur-Général des Bâtimens de Sa Majesté, Jardins, Arts, Académies et Manufactures Royales; de l’Académie Royale des Sciences, exh. cat. (Paris: Hérissant, 1785), 27, as M.^de la Comtesse de Grammont [sic] Caderousse.

D. P. D. J. [André Chénier], “Sur le Portrait de M^me la Comtesse de Gramont Caderousse, peinte en Vendangeuse au Salon, par M^me Le Brun,” Journal de Paris, no. 239 (August 27, 1785): 987.

M[ichel] de C[ubières-Palmézeaux], “Belles-Lettres: Vers Sur l’Exposition des Tableaux, au Salon du Louvre,” Journal de Paris, no. 245 (September 2, 1785): 1012, 1012n2.

“Suite du compte-rendu du Salon de 1785: De Machy, Duplessis, Hubert Robert, Julliar, M^me Vallayer-Coster, Callet, Berthellemy, Van Spaendonck, Vincent, Hue, Sauvage, M^me Le Brun,” (November 1785; repr. in Maurice Tourneaux, ed., Correspondance Littéraire, Philosophique et Critique par Grimm, Diderot, Raynal, Meister, etc., vol. 14, Paris: Garnier Frères, 1880), 274, as M^me de Gramont-Caderousse.

Mammès Claude Pahin de la Blancherie, Nouvelles de la République des Lettres et des Arts, vol. 46 (1785): 367.

L[ouis] B[onnefoy] d[e] B[ouyon], Minos au Sallon, ou la Gazette Infernale (Gattières, France: Hardouin et Gattey, 1785), Bibliothèque nationale de France, Collection Deloynes, vol. 14, no. 345, p. 21, as M^de La Comtesse de Grammont [sic] Caderousse.

[Jean Louis Giraud Soulavie], Réflexions Impartiales sur les Progrès de l'Art en France, et sur les Tableaux Exposés au Louvre, par ordre du Roi, en 1785 (London, 1785), 31, as Portrait de Madame la Comtesse de Grammont [sic].

[Antoine Joseph Gorsas], Deuxième Promenades de Critès au Sallon (London: Marchands de Nouveautés, 1785), Bibliothèque nationale de France, Collection Deloynes, vol. 14, no. 333-35, p. 15-16.

Impromptu sur le Sallon des Tableaux Exposés au Louvre en 1785. Dialogue en vers (London: Cailleau, [1785?]), 9.

[Barthélemy François Joseph Mouffle d’Angerville], “Seconde Lettre [Sur les peintures, sculptures et gravures exposées au Salon du Louvre le 25 août 1785],” Mémoires Secrets pour Servir à l’Histoire de la République des Lettres en France depuis MDCCLXII jusqu’à nos Jours; ou Journal d’un Observateur, Contenant les Analyses des Pieces de Théâtre qui ont paru durant cet intervalle; les Relations des Assemblées Littéraires; les notices des Livres nouveaux, clandestins, prohibés; les Pieces fugitives, rares ou manuscrites, en prose ou en vers; les Vaudevilles sur la Cour; les Anecdotes et Bons Mots; les Eloges des Savants, des Artistes, des Homme de Lettres morts, etc. etc. etc., vol. 30 (London: John Adamson, 1786), 161.

André Louis Woldemar Alphée de Sinety, “Notice sur la duchesse de Caderousse Gramont,” [ca. 1832-68], folio 121-22, private collection.

Élisabeth Louise Vigée Le Brun, Souvenirs de Madame Louise-Élisabeth Vigée-Lebrun, de l’Académie Royale de Paris, de Rouen, de Saint-Luc de Rome et d’Arcadie, de Parme et de Bologne, de Saint-Pétersbourg, de Berlin, de Genève et Avignon, vol. 1 (Paris: H[enri] Fournier, 1835), 53, 332, as La comtesse de Grammont-Cadrousse [sic].

Deux célébrités féminines aux XVIII^e et XIX^e siècles: Madame de Genlis et Madame Vigée-Le Brun: Souvenirs Personnels recueillis à l’usage de la Jeunesse (Paris: Librairie Saint-Paul, [18?]), 225-226.

“Memoirs of Madame Lebrun,” The Museum of Foreign Literature, Science, and Art 32 (March 1838): 326.

Lélius, Les Maîtres dans les Arts du Dessin (Paris: Amable Rigaud, 1868), 138.

E. Yapp, “A Beautiful Woman of Genius,” The Dark Blue 3, no. 6 (August 1872): 659-60.

Camille Selden, “Souvenirs de l’Ancienne Société Française: Une artiste femme du monde, Madame Vigée-Le Brun,” La Revue Politique et Littéraire 10, no. 8 (August 24, 1872): 186.

Jules Guiffrey, Table Générale des Artistes Ayant Exposé aux Salons du XVIII^e Siècle: Suivie d’une Table de la Bibliographie des Salons, Précédée de Notes sur les Anciennes Expositions et d’une Liste Raisonnée des Salons de 1801 à 1873 (Paris: J. Baur, 1873), 42.

Camille Selden [Elise Krinitz], Portraits de Femmes (Paris: G. Charpentier, 1877), 197-198.

Émile Bellier de la Chavignerie and Louis Auvray, Dictionnaire Général des Artistes de l’École Française depuis l’Origine des Arts du Dessin jusqu’à nos Jours (1882; repr., New York: Garland, 1979), 3:947, as Portrait de Mme la comtesse de Grammont [sic]-Caderousse.

Jules Guiffrey, “Table des Portraits Exposés aux Salons du Dix-Huitième Siècle jusqu’en 1800,” Nouvelles Archives de l’Art Français, 3rd ser., vol. 5 (Paris: Charavay Frères, 1889), 19.

Charles Pillet, Madame Vigée-Le Brun (Paris: Librairie de l’Art, 1890), 22.

Sophia Beale, “Elizabeth Louise Vigée-Le Brun,” The Portfolio 22 (1891): 89-90.

“Ce qui se passe,” Le Gaulois 29, no. 5499 (June 2, 1895): 1.

“Historique de deux tapisseries (comte de Choiseul et duchesse de Gramont-Caderousse),” L’Intermédiaire des Chercheurs et Curieux 32, no. 704 (October 10, 1895): 363.

Isabella Fyvie Mayo, “A Genius and a Beauty,” The Argosy 62 (December 1896): 674.

Henri Bouchot, “Une artiste française pendant l’émigration: Madame Vigée-Lebrun,” La Revue de l’Art Ancien et Moderne 3, no. 1 (January 1898): 53-54, 54n1.

Henry Lepauze, “Revue des Revues,” Le Gaulois 32, no. 5924 (January 23, 1898): 5.

Pierre de Nolhac, “Marie-Antoinette et M^me Vigée-Lebrun,” La Revue de l’Art Ancien et Moderne 4, no. 21 (December 1898): 525.

André Girodie, “Elisabeth Vigée-Lebrun,” Les Contemporains 10, no. 469 (October 6, 1901): 10.

Roger Portalis, “Adélaïde Labille-Guiard (1749-1803),” Gazette des Beaux-Arts 26, no. 534 (December 1, 1901): 491.

Pierre de Nolhac, “Les Peintres de la Femme: Madame Vigée-Le Brun,” Les Modes, no. 50 (February 1905): 2.

Haldane Macfall, Vigée Le Brun (London: T. C. and E. C. Jack, [ca. 1907-1909?]), 43.

“M^me Tallien et la Mode,” La Revue hebdomadaire 6, no. 23 (June 6, 1908): unpaginated.

Pierre de Nolhac, Madame Vigée-Le Brun: Peintre de la Reine Marie Antoinette, 1755-1842 (Paris: Goupil et Cie, 1908), 54-57, 151, 166, (repro.), as Marie-Gabrielle de Sinéty, Duchesse de Caderousse-Grammont [sic].

G[eorge] C[harles] Williamson, Catalogue of the Collection of Miniatures: The Property of J. Pierpont Morgan, vol. 4 (London: Chiswick Press, 1908), 21.

Henri Bouchot, La Miniature Française, 1750-1825 (Paris: Émile-Paul, 1910), 194.

Henry Roujon, “Madame Vigée-Lebrun,” La Revue hebdomadaire 12 (December 1912): 436.

Fernand de Brinon, “À la Société des Conférences: Mme Vigée-Lebrun, par M. Henry Roujon,” Journal des Débats Politiques et Littéraires 124, no. 340 (December 7, 1912): 2-3.

Jean Lefranc, “Au Jour le Jour: Mme Vigée-Lebrun devant M. Henry Roujon,” Le Temps 52, no. 18784 (December 7, 1912): 3.

Tout-Paris, “Femmes artistes d’autrefois,” Le Gaulois 48, no. 12904 (February 11, 1913): 1.

Jeanne Gabrié, “Les Chevelures qui Scintillent,” La Femina 14, no. 311 (January 1, 1914): 20.

Louis Hautecœur, Madame Vigée-Lebrun (Paris: Renouard, 1914), 23, 38, 56.

Pierre de Nolhac, Le Trianon de Marie-Antoinette (Paris: Goupil et Cie, 1914), 149-50.

W[illiam] H[enry] Helm, Vigée-Lebrun, 1755-1842: Her Life, Works, and Friendships (London: Hutchinson, [1915]), xvii, 67, 190, as Marie-Gabrielle de Sinéty, Duchesse de Gramont-Caderousse.

André Blum, Madame Vigée-Lebrun: Peintre des Grandes Dames du XVIII^e Siècle (Paris: L’Édition d’Art, 1919), 37-38, 97.

Gaston Deschamps, “Les Portraits de M. de Calonne,” La Revue de Paris 2 (March 15, 1926): 384.

Edmond Pilon, “Une vraie figure d’Alsace: La baronne d’Oberkirch,” Le Lisez-Moi Historique, no. 63 (October 5, 1936): 527.

Joseph Baillio, Elisabeth Louise Vigée Le Brun, 1755-1842 (Fort Worth: Kimbell Art Museum, 1982), 13, 18, 54-56, (repro.), as The Comtesse de Grammont [sic]-Caderousse.

Advertisement, La Gazette de l’Hôtel Drouot 93, no. 37 (October 26, 1984): 3, as Portrait de la Duchesse de Gramont-Caderousse en vendangeuse.

Advertisement, The Burlington Magazine 126, no. 980 (November 1984), xxi, (repro.), as Portrait de la Duchesse de Gramont-Caderousse.

Advertisement, La Gazette de l’Hôtel Drouot 93, no. 39 (November 9, 1984): 24, (repro.), as La Duchesse de Gramont-Caderousse en vendangeuse.

Advertisement, La Gazette de l’Hôtel Drouot 93, no. 40 (November 16, 1984): 24.

“Les Ventes Prochaines,” La Gazette de l’Hôtel Drouot 93, no. 41 (November 23, 1984): 8.

Geraldine Norman, “Sale Room: French Auction Record for Duchesse Portrait,” The Times, no. 62,000 (November 30, 1984): 2.

Souren Melikian, “At Drouot, Eclectic Auction Works to the Buyer’s Advantage,” International Herald Tribune, no. 31,659 (December 1-2, 1984): 7, (repro.).

“Peinture: un bouquet d’enchères millionnaires,” La Gazette de l’Hôtel Drouot 93, no. 43 (December 7, 1984): 2, (repro.).

“Résultats des Ventes,” La Gazette de l’Hôtel Drouot 93, no. 45 (December 21, 1984): 7, as La Duchesse de Gramont-Caderousse en vendangeuse.

Hugo Tijmen Douwes Dekker, Elisabeth-Louise Vigée-Lebrun, 1755-1842: Portraits à l’huile. Essai de catalogue ([The Hague: 1984]), 3-4, 20, 75, as Marie-Gabrielle Duchesse de Gramont-Caderousse-née de Sinéty.

Importants Tableaux Anciens et Modernes (Paris: Nouveau Drouot, 1984), unpaginated, (repro.), as La Duchesse de Gramont-Caderousse en vendangeuse.

F[rançois] D[uret]-R[obert], “Deux Longueurs d’Avance pour Madame Vigée-Le Brun,” Connaissance des Arts, no. 395 (January 1985): 92, (repro.), as Portrait de la duchesse de Gramont-Caderousse.

Souren Melikian, “French Art Market Steers Own Course,” International Herald Tribune, no. 31,687 (January 5-6, 1985): 6.

Patrick Martin, “Le Prix des Chefs-d’œuvre,” Beaux Arts, no. 21 (February 1985): 10, (repro.), as Portrait de la duchesse de Gramont-Caderousse en vendangeuse.

Florence Michel, “Old Master Pictures,” Art and Auction 7, no. 7 (February 1985): 89.

Sylviane Humair, “Record per la duchessa,” Antiquariato, no. 58 (March 1985): 18-19, (repro.), as Ritratto della duchessa di Gramont-Caderousse.

John Russell, “A Rare Opportunity to See Giacomettis by the Dozen,” The New York Times 135, no. 46,545 (September 27, 1985): C21.

François Duret-Robert, “Bilan d’une Saison,” Connaissance des Arts, no. 404 (October 1985): 65, 71, (repro.), as Portrait de la duchesse de Gramont-Caderousse en vendangeuse.

Souren Melikian, “Drouot Draws on France’s Mine of Art,” International Herald Tribune, no. 31,938 (October 26-27, 1985): 7.

E[nrique] Mayer, International Auction Records, vol. 19, 1985 (Paris: Éditions Mayer, 1985), 1402, (repro.), as La Duchesse de Gramont-Caderousse en vendangeuse.

Henry Sorensen, ed., Drouot 1984-1985: l’art et les enchères (Paris: S. E. P. S. V. E. P., 1985), 5, 27, 292, (repro.), as La duchesse de Gramont-Caderousse en vendangeuse.

Walter Spiegl, ed., Kunstpreis-Jahrbuch, vol. 40, 1985, pt. 1 (Munich: Weltkunst Verlag, 1985), 423, (repro.), as La Duchesse de Gramont-Caderousse en vendangeuse.

F[rançois] D[uret]-R[obert], “Gros Livres, Gros Prix,” Connaissance des Arts, no. 408 (February 1986): 16, (repro.), as Portrait de la duchesse de Gramont-Caderousse.

John Russell, “Art: Woodblock Prints from Japan at the Met,” The New York Times 135, no. 46,790 (May 30, 1986): C24.

Hugo [Tijmen] Douwes Dekker, “Elisabeth Vigée-Lebrun at the Biennial Salons du Louvre, 1783-1789,” Tableau 8, no. 6 (Summer 1986): 48, as Marie-Gabrielle duchesse de Grammont [sic]-Caderousse.

“Museum and Departmental Announcements,” Midwest Art History Society Newsletter, no. 13B (Fall 1986): 9, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

P. J., “Guy Stair-Sainty,” Connaissance des Arts, no. 415 (September 1986): 68.

“Education Insights,” Calendar of Events (The Nelson-Atkins Museum of Art) (November 1986): 6, as Marie-Gabrielle de Gramont, Duchesse de Caderousse.

Donald Hoffmann, “A New Old Master at the Nelson: Portrait Artist Made her Mark in French Court,” The Kansas City Star 107, no. 51 (November 16, 1986): 1D, 10D, (repro.).

“A. M.,” Kansas City Times 119, no. 66 (November 24, 1986): C-9, as Portrait of the Duchesse de Caderousse.

“New at the Nelson: Eighteenth-Century French Masterpiece Acquired by Museum,” Calendar of Events (The Nelson-Atkins Museum of Art) (December 1986): 1-3, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

Susan Porter, “Magazine gives credence to women’s art and literature,” Kansas City Star 107, no. 77 (December 17, 1986): 30.

An Aspect of Collecting Taste, exh. cat. (New York: Stair Sainty Matthiesen, 1986), 7, 44-47, (repro.), as The Duchess of Caderousse en Vendangeuse.

“Artnews,” Art Gallery International 8, no. 2 (January-February 1987): 8, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchess de Caderousse.

Paul Jeromack, “Believing in the 18th Century: French Old Master Paintings, Now and Then,” Art and Auction 9, no. 7 (February 1987): 72-73, 77, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

April McClellan, “‘Blockbuster’ exhibit, new art draw more people to the Nelson,” Kansas City Times 119, no. 129 (February 5, 1987): B-2, as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

Calendar of Events (The Nelson-Atkins Museum of Art) (October 1987): 5, (repro.).

Donald Hoffmann, “Dressed for Success,” Kansas City Star 108, no. 26 (October 18, 1987): 5D, as Portrait of Marie-Gabrielle de Gramont.

Laura Rollins Hockaday, “Art Alive to salute museum,” Kansas City Star 108, no. 52 (November 17, 1897): 4C.

John Russell, “Dazzling Records are Set in Salesrooms, but the Real Life of Art Goes on Quietly Elsewhere,” The New York Times 137, no. 47,331 (November 22, 1987): H39.

“Members in Action,” Calendar of Events (The Nelson-Atkins Museum of Art) (December 1987): 7, (repro.).

Jackie White, “Art comes to life at gallery,” Kansas City Star 108, no. 73 (December 13, 1987): 3E.

Roger [Barry] Ward, ed., A Bountiful Decade: Selected Acquisitions 1977-1987, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1987), 152-53, (repro.), as Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse.

“Members in Action,” Calendar of Events (The Nelson-Atkins Museum of Art) (February 1988): 7, as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

“A Fall Harvest,” Calendar of Events (The Nelson-Atkins Museum of Art) (September 1988): unpaginated insert, (repro.), Spencer Art Reference Library, Kansas City.

Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 71, 74-75, as Portrait of Marie Gabrielle de Gramont, Duchess of Caderousse.

M[arie] Therese Southgate, “The Cover,” JAMA: The Journal of the American Medical Association 262, no. 3 (July 21, 1989): 322, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

Old Master Paintings (New York: Sotheby’s, 1989), unpaginated.

Anne-Marie Passez, Antoine Vestier, 1740-1824 (Paris: Fondation Wildenstein, 1989), 81, 152, (repro.), as Portrait de la comtesse de Grammont [sic]-Caderousse en vendangeuse.

Élisabeth Vigée LeBrun, Memorie de una Ritrattista, trans. Giovanna Parodi (Milan: Mursia, 1990), 11, 22n36, 41.

David G. Wilkins et al., Art Past, Art Present, 2nd ed. (1990; repr., New York: Harry N. Abrams, 1994), 391, (repro.), as Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse.

Roger [Barry] Ward, “Selected Acquisitions of European and American Paintings at the Nelson-Atkins Museum of Art, Kansas City, 1986-1990,” The Burlington Magazine 133, no. 1055 (February 1991): 154, 156, (repro.), as Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse.

Susan Waller, Women Artists in the Modern Era: A Documentary History (1991; repr., Lanham, MD: Scarecrow Press, 2002), 16.

Manfred Koch-Hillebrecht, Museen in den USA: Gemälde (Munich: Hirmer Verlag, 1992), 243-44, as Marie Gabrielle de Gramont.

Alice Thorson, “The Nelson celebrates its 60^th; Museum built its reputation, collection virtually ‘from scratch’,” The Kansas City Star (July 18, 1993): J1.

Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art, 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 108, 117n6, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

John Kissick, Art: Context and Criticism ([Madison, WI]: Brown and Benchmark, 1993), 437-38, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

Wendy Slatkin, The Voices of Women Artists (Englewood Cliffs, NJ: Prentice Hall, 1993), 33.

Roger [Barry] Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, 1993), 130, 196, 409, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

Roland Bonnel and Catherine Rubinger, eds., Femme savants et femmes d’esprit: Women Intellectuals of the French Eighteenth Century (New York: Peter Lang, 1994), 414.

Jed Jackson, Art: A Comparative Study (Dubuque, IA: Kendall/Hunt, 1994), 161, 274, (repro.), as Portrait of Marie Gabrielle de Gramont, Duchess of Caderousse.

Inès de Kertanguy, Madame Vigée-Le Brun (Paris: Perrin, 1994), 105-06.

Patricia J. Fidler, “New at the Nelson: Painting by Noted 18th-Century Artist Acquired,” Newsletter (The Nelson-Atkins Museum of Art) (June 1995): 2, as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

Aileen Ribeiro, The Art of Dress: Fashion in England and France, 1750-1820 (New Haven, CT: Yale University Press, 1995), 165, 167, (repro.), as Marie de Gramont, Duchesse de Caderousse.

Catherine R. Montfort, “Vigée Le Brun: Une Artiste Exemplaire (1755-1842),” Nottingham French Studies 35, no. 2 (Autumn 1996): 48.

“Education Insights,” Newsletter (The Nelson-Atkins Museum of Art) (March 1997): 4, (repro.), as Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse.

Stephanie Hauschild, “Schatten, Farben, Licht: Die Portäts von Elisabeth Vigée Le Brun,” (Ph.D. diss., Albert-Ludwigs-Universität, 1998), 12, (repro.), as Comtesse de Grammont [sic]-Caderousse.

Servanne Woodward, “Les ‘Souvenirs’ de Vigée-Lebrun,” in “Écriture de soi au féminin,” Dalhousie French Studies 47 (Summer 1999): 78.

Delia Gaze, ed., Concise Dictionary of Women Artists (London: Fitzroy Dearborn, 2001), 683, as Duchesse de Gramont as a Grape Gatherer.

Françoise Pitt-Rivers, Madame Vigée Le Brun ([Paris]: Éditions Gallimard, 2001), 76, 91.

M[arie] Therese Southgate, The Art of JAMA II: Covers and Essays from the Journal of the American Medical Association (Chicago: American Medical Association, 2001), 92, 211, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

“Women and Art,” Newsletter (The Nelson-Atkins Museum of Art) (January-February 2004): 5, (repro.), Portrait of Marie-Gabrielle de Gramont, Duchess de Caderousse.

Pierre Sanchez, Dictionnaire des Artistes Exposant dans les Salons des XVII et XVIII^ème Siècles à Paris et en Province, 1673-1800, vol. 3 (Dijon: Éditions de l’Échelle de Jacob, 2004), 1711.

“Vibrant Galleries Offer Fresh View of European Art,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 6-7, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

[Emmanuel] Bénézit, Dictionary of Artists, vol. 14 (Paris: Éditions Gründ, 2006), 299-300, as Duchesse de Gramont-Caderousse as a Grape-Gatherer.

Olivier Blanc, Portraits de femmes: artistes et modèles à l’époque de Marie-Antoinette (Paris: Éditions Didier Carpentier, 2006), 18-19, (repro.), as La comtesse de Gramont-Caderousse, née Marie-Gabrielle de Sinéty, en habit de vendangeuse.

Alice Thorson, “What’s Your Position on Nelson’s Venus?,” The Kansas City Star 127, no. 231 (May 6, 2007): H7, (repro.), as Portrait of Marie Gabrielle de Gramont, Duchess of Caderousse.

Alice Thorson, “Expansion Gives Original Building Breathing Room: Reinstallation of European Collection and New Gallery Spaces Among Improvements,” The Kansas City Star 127, no. 259 (June 3, 2007): E6.

Nicole Garnier-Pelle et al., Portraits des maisons royales et impériales de France et d’Europe: Les miniatures du musée Condé à Chantilly (Paris: Somogy éditions d’art, 2007), 33, 234.

Nathalie Lemoine-Bouchard, Les Peintres en Miniature: actifs en France 1650-1850 (Paris: Les Éditions de l’Amateur, 2008), 60.

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), xvi, 34, 106, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

Elisabeth Louise Vigée-LeBrun, Souvenirs, 1755-1842, ed. Geneviève Haroche-Bouzinac (Paris: Éditions Champion, 2008), 12, 160, 160n80, 161, 161n80, 338, as Marie-Gabrielle de Grammont [sic], née de Sinéty, duchesse de Caderousse.

Marianne Berardi and Henry Adams, Discovering Margot Peet: The Artist and the Art World of Kansas City (Chevy Chase, MD: Posterity Press, 2010), 146, 148-50, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

Bernd Pappe, Jean-Baptiste Jacques Augustin: Peintre en miniature (Saint-Dié-des-Vosges, France: Musée Pierre-Noël, 2010), 38.

Geneviève Haroche-Bouzinac, Louise Élisabeth Vigée Le Brun: Histoire d’un regard ([Paris]: Flammarion, 2011), 137, 559n15, as Marie-Gabrielle de Grammont [sic], née de Sinéty, duchesse de Caderousse.

Marie-Josèphe Bonnet, Liberté, Égalité, Exclusion: Femmes Peintres en Révolution, 1770-1804 (Paris: Vendémiaire, 2012), 49.

Kendra Van Cleave, 18th Century Hair and Wig Styling: History and Step-by-Step Techniques (U.S.: published by author, 2014), 8, (repro.), as Portrait of Marie-Gabrielle de Gramont, Duchesse de Caderousse.

Joseph Baillio and Xavier Salmon, Élisabeth Louise Vigée Le Brun, exh. cat. (Paris: Éditions de la Réunion des musées nationaux, 2015), 29, 31, (repro.), as La comtesse de Gramont Caderousse en vendangeuse.

Cécile Berly, Louise Élisabeth Vigée Le Brun: Peindre et écrire; Marie-Antoinette et son temps (Paris: Éditions Artlys, 2015), 182-83, (repro.), as Portrait de Marie-Gabrielle de Gramont, duchesse de Caderousse.

Kimberly Chrisman-Campbell, Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette (New Haven: Yale University Press, 2015), 186, 188-89, (repro.), as Marie-Gabrielle de Gramont, duchesse de Caderousse.

Joseph Baillio et al., Vigée Le Brun, exh. cat. (New York: Metropolitan Museum of Art, 2016), 113-15, 241, 246-47, (repro.), as The Comtesse de Gramont Caderousse Gathering Grapes.

Liz Rideal and Kathleen Soriano, Madam and Eve: Women Portraying Women (London: Laurence King, 2018), 16-18, (repro.), as Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse.

The Pohl-Ströher Collection of Portrait Miniatures Part II (London: Sotheby’s, July 4, 2019), 60, as Portrait of Marie Gabrielle de Sinéty, Duchesse de Gramont-Caderousse.

Bernadette Fort, “Les ‘Souvenirs’ d’Élisabeth Vigée Le Brun : Distinction et sociabilité dans un ‘Vie’ d’artiste,” in Artistes, savants et amateurs: art et sociabilité au XVIIIe siècle (1715–1815): actes du colloque international, organisé du 23 au 25 juin 2011 à l’INHA, Paris, ed. Jessica L. Fripp et al., ([Paris]: Mare et Martin, 2016), 253.

The Pohl-Ströher Collection of Portrait Miniatures Part II (London: Sotheby’s, July 4, 2019), 60, as Portrait of Marie Gabrielle de Sinéty, Duchesse de Gramont-Caderousse.

Joseph Baillio, “Elisabeth Louise Vigée Le Brun, Portrait of Marie Gabrielle de Gramont, Comtesse de Caderousse, 1784,” catalogue entry, and Diana M. Jaskierny, “Elisabeth Louise Vigée Le Brun, Portrait of Marie Gabrielle de Gramont, Comtesse de Caderousse, 1784,” technical entry, in Aimee Marcereau DeGalan, ed., French Paintings, 1600–1945: The Collections of the Nelson-Atkins Museum of Art (Kansas City: The Nelson-Atkins Museum of Art, 2021), https://doi.org/10.37764/78973.5.334.5407.

Julian Zugazagoitia and Laura Spencer. Director's Highlights: The Nelson-Atkins Museum of Art Celebrating 90 Years, ed. Kaitlyn Bunch (The Nelson-Atkins Museum of Art, 2024), 114, (repro.).

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.